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I 


THE 


OR, 


A  Practical  Guide  in  Designing  &  leaving. 


AN   INSTRUCTOR  &  GUIDE  ADAPTED  TO  THE  REQUIREMENTS 

OF  ALL  ENGAGED  IN  THE  ART. 

ILLUSTRATED  WITH 

THREE-HUNDRED  FIGURES  REPRESENTING  SINGLE,  DOUBLE, 
TRIPLE  AND  COMBINED  WEAVES  IN  VARIOUS  FORMS  OF  CON- 
STRUCTION AND  COMPLETION,  THE  PRINCIPAL  METHODS  OF 
ATTACHING  BACKS  TO  FABRICS,  AND  EIGHT  CLOTH  SAMPLES 
MADE  SPECIALLY  TO  DEMONSTRATE  THE  PRINCIPLES  OF  THE 
WORK,  INCLUDING  A  FANCY  PICKOUT  SHOWING  FIVE  METHODS 
OF  REDUCING  AND  WEAVING  THE  SAME;  DIAGRAM  OF  PATTERN 
SHEET;  ALL  MANNER  OF  STOCK  FIGURING  FROM  THE  WOOL 
IN  THE  GREASE  TO  THE  WOVEN  STATE,  INCLUDING  MAKING 
MIXES;  ALSO  YARN  TABLES,  RULES,  CALCULATIONS,  ETC.,  ETC. 

The  Most  Practical  and  Complete  Work  on  Designing  and 
Weaving  Ever   Offered  to  the   Craft. 


BY  A.  A.  BALDWIN, 
s\ 

AUTHOR  OF 

"A  Treatise  on  Designing  and  Weaving  Plain  and  Fancy  Woolen  Cloths,"  "The  Designers' 
Chart,"  and  "The  Loom-Fixers'  Manual."  Also  ex-Editor  and  Publisher  of  "The  Designer 
&  Weaver"— i8So-i,— and  "Baldwin's  Textile  Designer"— 1888-9,— both  monthly  publications. 


BRASHER  FALLS,  N.  Y. : 
AMOS  A.  BALDWIN,  PUBLISHER. 

1890. 


PEEFACE, 


PREFACE. 


fulfilling  a  task  so  difficult  as  that  of  writing  a  "Self- 
.Instructor  in  Textile  Designing,"  the  author  feels  it  a 
duty  to  state  the  causes  which  led  him  to  undertake  it, 
and  the  principles  which  have  guided  him  in  carrying 
it  to  a  conclusion.  First,  to  overcome  past  failures  in  books 
relative  to  the  Art,  by  demonstrating  in  a  comprehensive 
manner  such  points  as  have  heretofore  been  ignored  by  their 
authors;  or,  points  on  which  they  failed  in  conveying  to  the 
reader  the  intended  meaning.  Second,  to  produce  a  self -in- 
structor founded  on  practical  experience  and  study  of  the 
art;  a  work  demonstrating  so  plainly,  with  the  assistance 
of  the  cloth  samples  made  specially  for  it,  that  all  who  will, 
may  comprehend  the  whole  and  thus  be  their  own  instruc- 
tor. Third,  to  spread  a  knowledge  of  designing  as  widely 
as  possible  among  those  who  have  not  the  advantage  of 
personal  instruction. 

Furthermore,  the  author  wishes  to  place  in  the  hands 
of  would-be  designers  such  a  work  on  the  subject  as  will 
enable  them  to  understand  more  clearly,  and  comprehend 
more  thoroughly  the  details  and  technicalities  of  the  art. 
That  he  has  succeeded  in  this,  and  in  bringing  the  rudiments 
of  designing  to  that  state  of  perfection  wherein  they  can  be 


4  PREFACE. 

easily  learned,  and  practically  applied  by  those  who  are 
dependent  almost  wholly  on  books  for  their  instruction  in 
designing,  will,  he  believes,  be  conceded  by  all  fair-minded 
persons  capable  of  judging. 

The  aim  has  been  to  lay  before  the  craft  a  plain,  clear, 
practical  view  of  all  the  rudiments  required  to  be  known  by 
those  who  are  interested  in  an  art,  the  fundamental  princi- 
ples of  which  have  been  heretofore  but  very  imperfectly 
demonstrated  in  books.  Although  not  intended  as  a  literary 
production,  and  although  apparently  small,  it  is  believed 
that  the  work  covers  the  entire  field  of  designing  for  which 
it  is  intended.  That  it  may  succeed  in  awakening  among 
the  craft  the  same  interest  in  its  subject-matter  which  called 
it  into  existance,  is  the  earnest  desire  of  the  author. 

A.  A.  BALDWIN. 
Dec.  18,  1890. 


CONTENTS. 


CONTENTS. 


CAHPTER  I. 

Page 

Hints  to  Would-be  Designers 9 

CHAPTER  II. 
Delicacy  and  Correctness  of  Taste 13 

CHAPTER  III. 
How  to  Become  a  Designer.  15 

CHAPTER  IV. 

Explanation  of  Signs  and  Characters  used  in  Design- 
ing.— Mathematical  Signs 18 

Fractional  Equivalents  in  Percentage.  .  .        .  .       19 

Design  Characters 20 

CHAPTER  V. 

Explanation  of  Different  Terms  used  by  Designers.         20 
CHAPTER  VI. 

Hints  on  Preparing  and  Examining  Samples  before 

Dissecting 24 

CHAPTER  VII. 

The  Process  of  Dissecting  and  Layingout  for  the  Fab- 
ric, Illustrated — with  Pickout,  and  Cloth  Sample.  26 
To  Find  the  Number  of  Threads  in  the  Warp.            ...  '    81 

To  Find  the  Amount  of  Yarn  Required  for  Warp.  32 

To  Find  the  Required  Reed.  . .         . .  33 

To  Find  the  Amount  of  Yarn  Required  for  the  Filling.  34 
To  Find  the  Number  of  Sections  and  Number  of  Spools 

Required  Up.          . .  35 

To  Find  the  Number  of  Yards  Required  on  Each  Spool.  36 

The  Dressing  or  Warping.  . .         . .         . .         . .  37 

To  Find  the   Number  of  Heddles  Required  on  Each 

Harness  when  Using  a  Cross  Draft 37 


6  CONTENTS. 

CHAPTER  VIII. 

Estimating  the  Per  Cent,  to  allow  for  Loss  of  Stock 

During  the  Process  of  Manufacture.          . .         . .      41 

Rule  for  Adding  Percentage.          42 

CHAPTER  IX. 

Estimating  the  Per  Cent,  of  Colors  in  Mixes,  and  of 

Different  Wools  in  Batches 45 

To  Find  the  Amount  of  Each  Color  Required  in  a  Batch, 

the  Size  of  Batch  and  Per  Cent,  being  Known.          45 
CHAPTER  X. 

Figuring  the  Shrinkage  of  Wools  and  Their  Cost 

when  Scoured 47 

To  Find  the  Shrinkage  of  Unsecured  wool 47 

To  Find  the  Cost  of  Scoured  Wool,  the  Market  Price 

and  Shrinkage  being  Known.  47 

To  Find  the  Amount  of  Wool  Required  in  the  Grease 
to  Produce  a  Given  Amount  Clean,  the  Shrinkage 
being  Known 48 

CHAPTER  XI. 

Dressing  Pattern  Warps  and  Weaving  Pattern  Sheets      49 
— Pattern  Sheet  Illustrated  by  Diagram.  .  .      52 

Figuring  on  the  Weight  of  Cloth  from  Loom.          .  .       53 
CHAPTER  XII. 

Three  Methods  of  Attaching  a  Back  to  Fabrics — fully 

Demonstrated  with  Cloth  Samples.  . .       55 

CHAPTER  XIII. 

Combining  Weaves  Illustrated. 68 

CHAPTER  XIV. 
The  Analysis  of  Double  Weaves — Their  Construction 

and  Stitching — Demonstrated  with  Cloth  Sample.       81 
CHAPTER  XV. 

The  Construction  of  Triple  or  Three-ply  Weaves- 
Demonstrated  with  Cloth  Sample.  . .  . .  90 

CHAPTER  XVI. 
Relative    Lengths  Per  Pound  of  Woolen,   Worsted, 

Cotton,  and  Silk  Yarns — their  Explanation.         . .       99 


CONTENTS.  7 

CHAPTER  XVII. 

Samples  of    Fabrics    with    General    Instructions  for 

Making  Them — Eight  Samples.          102 

CHAPTER  XVIII. 

Miscellaneous  Weaves.  107 

CHAPTER  XIX. 

Designing  Broken  Twills  or  Satin  Weaves 117 

Rule  for  Designing  Satin  Weaves.  .  .        .  .         . .     122 

"Double  Satin  Weaves." 123 

CHAPTER  XX. 
Yarn  Tables,  Rules  and  Calculations. — Table  Showing 

the  Number  of  Yards  Per  Pound  of  Woolen  Yarn 

From  I  Run  to  20  Runs 126 

Table   Showing  the   Number  of  Yards  Per  Pound  of 

Worsted  Yarn  from  No.  1  to  No.  120 127 

Table  Showing  the  Number  of  Yards  Per  Pound  of 

Cotton,  or  Spun-Silk  Yarn  from  No.  1  to  No.  90.     128 
Table  Showing  Equivalent  Numbers  by  the  Run,  Cut 

and  No.    System,   for    Woolen,   Worsted,    Cotton 

and  Spun-Silk  Yarns 129 

Table  Showing  the  Weight  in  Grains  of  50  Yards  of 

Woolen   Yarn,  from  1  Run  to  20|  Runs.  .  .     130 

Rules  to  Find  the  Size  of  Different  Yarns,  by  Grains, 

without  Reference  Tables.        .  .         131 

Rule  to  Find  the  Number  of  a  2  or  3-ply  Thread,  in 

"Worsted  and  Cotton  Yarns .  .        .  .     132 

Rule  to  Estimate  the  Weight  of  Fabrics  by  the  Weight 

of  One  Square  Inch 133 

Weight  Table  in  Grains. — Rule  to  Find  Average  Picks 

Per  Inch  in  Uneven  Cloths.— Cotton  Yarn  Table.     134 

Linen  Yarn  Table.— Cloth  Measure  Table 135 

Raw  or  Tram  and  Organzine  Silk  Yarns 136 

CHAPTER  XXL 

Weaving  Right  and   Left-hand   Twills,   on   Cam  and 

Chain  Looms — Illustrated 137 

CHAPTER  XXII. 

Directions  for  Making  Wool  Mixes. — Conclusion.        .  .     141 
A  Centennial  Calendar.  145 


ERRATA, 


ERRATA. 

On  page  32,  twentieth  and  twenty-first  lines,  read  "into 
5  warps,  will  give  440  yards  per  warp  of  12  cuts, — that  is  36f 
yards  per  cut  or  piece,"  instead  of  "into  6  warps,  will  give 
350  yards  per  warp  of  10  cuts, — that  is  35  yards  etc." 

On  page  93,  Fig.  8,  bar  3,  read  "•unununnuK,"  instead 
of  "•••••cjuEinnn. " 

On  page  129,  in  table,  second  column,  read  "20i  runs," 
instead  of  "29i/'  Also,  in  fifth  column,  read  "35f  Nos." 
instead  of  "36f " 

Besides  the  above,  there  are  on  other  pages  misprint 
and  typographical  errors,  but  none  that  will  in  any  way 
lead  the  reader  astray  or  change  the  general  meaning.  We 
acknowledge,  howewer,  that  such  are  due  to  carelessness 
in  proof  reading  and  hurrying  the  work. 


THE 


OR, 


A  Practical  Guide  in  Desiram  &  f  m 


CHAPTER  I. 

HINTS   TO   WOULD-BE   DESIGNERS. 

|^\  ESIGNING  is  that  branch  of  textile  manufacturing 
which  requires  each  and  every  part  thereof  to  be 
performed  both  accurately  and  thoroughly.  These 
results  cannot  be  expected  from  the  novice,  nor 
from  a  person  of  no  taste  in  the  calling,  as  such  can  be 
accomplished  only  by  those  who  have  more  or  less  of  the 
natural  qualifications  for  it.  These  qualifications  are -by  no 
means  of  a  superficial  nature.  The  designer,  like  the  artistr 
ought  to  possess  an  unlimited  fancy,  a  strong  and  lively 
imagination,  a  refined  taste,  and  good  judgment.  Of  these 
qualification,  the  judicious  cultivation  of  taste  should  not 
be  neglected,  for  upon  this  largely  hangs  his  fate. 

Taste,  (which  will  be  more  fully  spoken  of  in  another 
chapter)  is  not  simply  an  inborn  faculty  requiring  no  further 
thought  on  the  assumption  that  nature  controls  its  actions; 
but  is  an  intellectual  faculty,  a  perceptive  power  depending 
on  education  and  exercise  nearly  as  much  as  any  faculty  of 
the  mind.  It  must  not  only  be  cognizant  of  the  beautiful, 
but  trained  by  art  to  a  familiarity  with  the  laws  governing 
it.  What  can  appear  more  offensive  to  a  person  of  delicate 

2 


1(1  THE  SELF-INSTRUCTOR, 

taste  than  a  design  crowded  with  an  incongruous  assem- 
blage of  colors?  Good  taste  never  changes,  but  fashion 
changes  often. 

If  the  designer  is  employed  in  a  mill  of  limited  facilities 
in  the  dyeing  and  weaving  departments,  it  stands  him  in 
hand  to  bring  forth  his  best  skill  in  the  display  of  colors. 
novel  mixes  and  weaves  in  order  to  produce  sufficient  diver- 
sity in  his  patterns.  His  work  is  certainly  very  tedious 
and  trying  under  the  most  favorable  circumstances. 

A  design  must  be  developed  in  the  mind,  to  a  certain 
extent,  before  it  can  be  committed  to  paper.  Originating  a 
texture  does  not  complete  the  whole;  everything  pertaining 
to  the  manufacture  of  the  fabric  in  its  finished  state,  must 
be  taken  into  consideration.  Even  then,  the  design  would 
be  almost  useless  should  it  call  for  expenditures  too  great 
for  the  manufacturer  to  reap  any  profit  from  it.  Hence,  it 
will  be  seen  that,  in  the  designing  of  a  fabric,  all  details  in 
relation  to  its  manufacture,  appearance,  sale,  etc.,  must  be 
fully  considered.  The  would-be  designer  who  expects  to 
perform  these  duties  in  their  entirety,  must  train  his  mind 
to  a  realizing  sense  of  the  importance  of  every  detail,  as 
well  as  to  patience  and  perseverance.  The  lack  of  these  vir- 
tues have,  without  doubt,  been  the  means  of  discouraging 
many  a  promising  young-man  from  following  this  vocation 
who  might,  in  time,  have  mastered  the  art. 

The  time  has  passed,  when  the  would-be  designer  can 
reasonably  expect  to  reach  the  highest  degree  of  success 
while  he  neglects  to  educate  himself  for  his  vocation.  As 
well  might  the  lawyer,  the  physician,  or  the  clergyman  ex- 
pect distinction  who  ignores  the  necessity  of  mastering  the 
principles  of  his  particular  porf  ession.  There  are  text -books 
for  the  design  student  as  well  as  for  those  in  other  pursuits. 
and  he  should  study  them  as  the  law  student  would  ''Black- 
stone,"  or  other  similar  works,  until  he  is  familiar  with 
their  teachings.  He,  who  plods  on  in  ignorance  of  the 
progressiveness  in  these  modern  times,  can  only  look  for 
success  to  what  may  be  termed  fortunate  accident. 

The  true  designer  is  not  one  who  gets  his  ideas  from 


TEXTILE  DESIGNING.  11 

tlie  patterns  of  others,  but  is  a  man  of  original  power,  who 
knows  when  to  design,  what  to  design  and  how  to  design 
it;  how  to  apply  colors,  and  what  colors  are  required  for  a 
particular  effect  to  meet  the  wants  of  the  fastidious  public. 
He  understands  the  principle  of  arranging  colors  so  as 
to  produce  the  strongest,  as  well  as  the  faintest  effect; 
and  also  that  of  the  weave  to  use.  He  knows  that  in  the 
arrangement  of  colors,  some  will  have  more  brilliancy  and 
effect  when  placed  together  than  when  placed  separately  or 
beside  of  others.  This  arises  neither  from  taste  nor  imagi- 
nation, but  is  founded  upon  nature  and  may  be  explained  by 
the  principles  of  optics.  He  knows  that  the  seven  prismatic 
colors — red,  orange,  yellow,  green,  blue,  violet  and  purple. 
— have  the  same  relation  to  each  other  as  the  notes  in  an 
octave  of  music;  and  that  the  effect,  produced  by  artfully 
disposing  of  these  kindred  colors,  is  no  less  pleasing  to  the 
eye,  than  is  the  concord  of  musical  sounds  grateful  to 
the  ear. 

Colors,  therefore,  with  respect  to  the  effect  which  they 
produce,  may  be  properly  arranged  under  two  heads, 
namely:  those  which  are  contrasting,  and  those  which  are 
"harmonizing.  The  contrasting  colors  are  those  most  opposed 
to  each  other;  the  harmonizing  colors  are  those  intermedi- 
ate tints  which  lie  between  the  contrasting  ones,  and,  as  it 
were,  blends  them  together. 

Contrasting  colors  may  be  discovered  by  a  simple 
experiment.  For  example,  place  a  red  wafer  on  a  sheet  of 
white  paper  and  look  at  it  steadily  until  the  eye  becomes 
tired  when  a  ring  of  green  will  begin  to  appear  around  its 
edge,  and  even  after  the  eye  has  been  removed  to  another 
part  of  the  paper  the  green  ring  will  be  visible.  Hence, 
green  is  said  to  be  the  contrasting  color  of  red,  and  red  the 
contrasting  color  of  green.  In  like  manner  it  will  be  found 
that  purple  is  the  contrasting  color  of  yellow;  blue,  of 
orange;  violet,  of  a  mixture  of  yellow  and  orange;  and 
black,  of  white. 

The  compounds  of  these  colors  will  also  have  their  con- 
trasting colors.  Thus,  purple  inclining  to  red,  has  for  its 


12  THE  SELF-IXSTRUCTOR, 

contrasting  color,  yellow  inclining  to  green;  purple,  inclin- 
ing to  blue,  has  yellow  inclining  to  orange;  likewise  with 
the  other  compounds.  On  the  other  hand,  a  harmonizing 
color  will  be  the  nearest  tint  to  the  original,  but  farthest, 
except  the  original,  from  the  contrasting  color.  Yellow  is. 
therefore,  the  harmonizing  color  of  white;  orange,  of  yellow; 
red,  of  orange;  violet,  of  red;  and  blue,  of  violet;  etc. 

Different  shades  of  the  same  color,  such  as  light  and 
dark  green;  light  and  dark  red;  light  and  dark  blue,  etc., 
when  they  are  distinct,  likewise  form  very  bold  contrasts. 
But  when  the  same  color  runs  through  a  variety  of  shades 
from  a  very  dark  to  a  very  light  tint,  such  tints  approach 
to  the  nature  t)f  harmonizing  colors. 

It  is  an  established  fact  that  there  are  persons  who  find 
it  very  difficult  to  distinguish  one  color  from  another,  in 
consequence  of  which  they  make  mistakes  that  appear  per- 
fectly incomprehensible  to  a  person  of  ordinary  vision. 
Taking,  for  instance,  red  for  green,  is  one  of  the  mistakes 
most  frequently  made  among  this  class  who  are  called 
color-blind.  A  person  thus  afflicted,  cannot  reasonably 
expect  to  succeed  as  a  designer  of  textile  fabrics.  To  suc- 
ceed in  this  business,  a  man  should  have  good  eye-sight, 
should  be  quick  to  discern  colors,  and  well  versed  in  their 
effect.  He  will,  if  possessed  of  these  qualities,  be  much 
benefited  in  the  early  stages  of  his  pursuit. 

The  procuring  of  a  great  variety  of  samples,  of  different 
styles,  and  examining  into  their  construction  even  to  the 
minutest  detail,  is  of  no  small  importance.  This  kind  of 
experience  will  greatly  assist  the  beginner  in  putting  into 
shape  such  textures  or  ideas  as  his  own  fancy  suggests;  at 
the  same  time  he  should  avoid  as  much  as  possible  a  certain 
sameness  of  style.  His  taste  in  this  direction  will  govern, 
in  no  small  degree,  his  peculiar  "style"  ever  after.  Hence, 
good  taste  is  essential  in  every  part  of  .designing. 

We  will  now  bring  this  chapter  of  "hints"  to  a  close  by 
saying  to  the  would-be  designer,  do  not  wait  to  obtain  your 
knowledge  entirely  by  the  slow  process  of  personal  experi- 
ments; but  study  the  published  experiences  and  demon- 


TEXTILE  DESIGNING.  13 

strated  theories  of  writers  on  questions  that  underlie  manu- 
facturing. If  you  will  but  study,  and  try  to  profit  by  such 
teachings,  keep  a  complete  record  of  your  own  experience 
with  different  weaves  and  combinations  as  applied  to  differ- 
ent colors  and  mixes,  their  effect  on  the  different  grades  of 
yarn,  and  gather  knowledge  from  all  other  available  sources, 
you  may  with  proper  care,  close  attention  and  practice  after 
the  theory  is  thoroughly  understood,  reasonably  anticipate 
success. — "Knowledge  is  power." 


CHAPTER  II. 
DELICACY  A:ND  CORRECTNESS  OF  TASTE. 

Since  taste  has  such  a  controlling  power  in  every  class 
of  textile  designing,  and,  at  the  same  time,  it  is  so  difficult 
to  distinguish  between  the  good  and  bad,  it  may  be  well  to 
present  here  a  few  brief  remarks  as  to  the  true  standard 
by  which  the  taste  of  different  designers  may  be  compared 
with  each  other  in  order  to  discriminate  between  the  true 
and  the  false. 

In  some  men  only  the  feeblest  glimmerings  of  taste  are 
visible,  and  things  which  they  call  beautiful  are  of  the 
coarsest  kind.  Even  of  these,  they  have  but  a  week  and 
confused  impression;  while  in  others,  taste  rises  to  an  acute 
discernment,  and  a  lively  enjoyment  of  the  most  refined 
ideas.  In  general,  we  may  remark  that  in  the  powers  and 
pleasures  of  taste,  there  is  more  reasonable  inequality 
among  designers  than  is  usually  found  in  point  of  common 
sense,  reason  and  good  judgment. 

The  characteristics  of  taste  are  all  reducible  to  two, 
namely:  delicacy  and  correctness. 

Delicacy  of  taste  represent,  principally,  the  perfection 
of  that  natural  sensibility  on  which  taste  is  founded.  It 


14  THE   SELF-INSTRUCTOR, 

implies  those  finer  organs  of  power  which  enables  us  to  dis- 
cover beautiful  points  that  lie  hid  from  the  vulgar  eye.  One 
may  have  a  strong  sensibility,  and  yet  be  deficient  in  deli- 
cacy of  taste.  He  may  be  deeply  impressed  by  beauties  as 
he  sees  them,  but  he  perceives  only  what  is  in  some  degree 
coarse  and  bold,  while  the  more  chaste  and  simple  beauties 
escape  his  notice.  In  this  state,  taste  generally  exists  among 
those  of  an  uncultivated  mind.  A  designer  of  delicate  taste 
sees  both  keenly  and  accurately.  He  sees  distinctions  and 
differences  where  others  see  none,  while  the  most  simple 
thing  does  not  escape  his  notice;  he  is  also  sensible  of  the 
slightest  fault. 

Delicacy  of  taste  is  judged  by  the  same  tests  that  we 
use  in  judging  of  the  delicacy  of  an  internal  sense.  As  the 
acuteness  of  the  palate  is  not  tested  by  strong  flavors,  but 
by  a  mixture  of  ingredients,  when,  notwithstanding  the 
confusion,  we  become  sensitive  of  each.  In  like  manner 
delicacy  of  taste  is  shown  by  a  quick  and  lively  sensitive- 
ness of  the  finest  as  well  as  the  most  potent  objects. 

Correctness  of  taste  represents  chiefly  the  improvements 
which  the  faculty  has  received  through  its  connection  with 
the  understanding.  A  designer  of  correct  taste  is  one  not 
easily  imposed  upon  by  counterfits — who  carries  in  his  mind 
that  standard  of  good  sense  which  he  employs  in  judging 
of  everything.  He  estimates  with  propriety  the  comparative 
merit  of  the  several  beauties  which  he  meets  with  in  any 
work  of  genius;  refers  them  to  their  proper  classes,  discovers 
the  principles,  so  far  as  they  can  be  traced,  on  which  their 
power  of  pleasing  depends,  and  is  pleased  himself  precisely 
in  that  degree,  in  which  he  ought,  and  no  more. 

It  is  true  that  these  qualities  of  taste,  delicacy  and 
correctness,  mutually  imply  each  other.  No  taste  can  be 
thoroughly  correct  without  being  delicate;  but  still  a  pre- 
dominancy of  one  or  the  other  quality  in  the  subject  is  often 
visible.  The  power  of  delicacy  is  chiefly  observed  in  dis- 
cerning the  true  merit  of  a  work;  the  power  of  correctness 
in  rejecting  false  pretentious  to  merit.  Delicacy  leans  more 
to  feeling;  correctness  more  to  reason  and  good  judgment. 


TEXTILE   DESIGNING.  15 

The  former  is  more  the  gift  of  nature;  the  latter,  more  the 
product  of  culture  and  art. 

From  the  above  we  desire  the  reader  to  understand  that 
a  designer — in  the  full  sense  of  the  term — ought  to  possess, 
like  the  poet  and  artist,  an  unlimited  fancy  together  with  a 
strong  and  lively  imagination,  in  order  to  be  deeply  im- 
pressed with  the  objects  of  his  work,  and  thus  be  able  to 
bring  out  the  principal  effect  in  his  designs. 


CHAPTER  III. 

HOW   TO  BECOME   A  DESIGNER. 

Without  doubt  there  is  not  a  question  relating  to  the 
manufacture  of  textile  fabrics  which  is  asked  so  often,  and 
with  so  much  earnestness,  and  usually  receives  such  indif- 
ferent answers,  as  that  of  the  young  man  who  asks:  "How 
can  I  become  a  designer?" 

In  nearly  every  case  the  young  man  asking  this  ques- 
tion feels  that  the  circumstances  which  surround  him  are 
such  as  absolutely  forbid  his  attending  a  designing  school, 
and  not  knowing  of  a  good  competent  designer  who  would 
personally  instruct  him  in  the  rudiments,  he  turns  away 
discouraged. 

It  is  for  such  young  men  that  this  chapter  is  intended. 
In  it  we  shall  endeavor  to  answer  the  question  before  us  by 
speaking  of  those  points  which  we  know,  from  actual  expe- 
rience, are  necessary  in  order  to  become  a  designer.  And, 
when  we  speak  thus,  we  mean  a  designer  in  the  full  sense  of 
the  term.  Nearly  any  person,  with  a  common-school  educa- 
tion, may  become  a  designer  theoretically,  but  only  a  few 
become  a  designer  practically.  Hence,  the  former  class  we 
shall  not  take  into  consideration,  but  will  call  the  reader's 
attention  wholly  to  the  latter. 


If?  THE  SELF-IXSTRUCTOR, 

First,  the  four  principal  rules  of  arithmetic  should  be 
thoroughly  understood. 

Second,  a  man  should  be  gifted  with  good  taste,  good 
judgment  and  originality. 

Third,  he  should  have  a  fair  knowledge  of  the  mechan- 
ism of  looms. 

With  these  qualifications — even  without  a  common- 
school  education  or  attendance  at  a  designing  school, — it  is 
safe  to  predict  that  a  man  may  become  a  designer.  To 
aid  him  in  the  undertaking,  he  should  purchase  such  good 
practical  books,  relating  to  the  art,  as  he  can  afford;  books 
written  by  practical  men  capable  of  handling  the  subject, 
but  stear  clear  of  those* written  by  amateurs,  or  wholly  from 
theory.  After  purchasing  such  books,  study  them  carefully. 
Remember,  that  the  watch-words  of  designing  are,  think, 
study,  advance:  Think  at  all  times;  study  in  all  places; 
advance  by  degrees.  One  hour  of  earnest  thought  upon  a 
subject  after  studying  it,  will  advance  him  more  than  ten 
hours  of  continuous  reading.  The  young  man  who  persist- 
antly  follows  this  course  will  not  down;  but  will  certainly 
come  to  the  front,  even  though  he  has  many  jealous 
opponents  working  against  him. 

Looking  on  the  practical  side  of  the  question,  the  young 
man  should  carefully  study  the  class  of  goods  with  which 
he  comes  in  daily  contact.  A  long  time  occupied  with  one 
pattern  may  seem  like  waste  of  time,  but  if  the  pattern  be 
once  thoroughly  understood  he  has  travelled  a  long  way  on 
the  road  leading  to  the  comprehension  of  many  others. 

By  understanding  a  pattern,  we  mean  not  only  under- 
standing how  it  was  woven,  but  how  it  was  made  in  general: 
the  size  of  yarns,  ends  in  warp,  picks,  stock,  colors,  propor- 
tions of  each,  and,  in  fact,  every  thing  pertaining  to  its 
general  construction.  Nor  is  this  all;  every  item  in  this 
direction  should  be  recorded  and  compared  with  his  every- 
day experience.  After  extracting  satisfactory  information 
from  one  pattern,  take  up  another  of  a  different  style  and 
go  through  it  in  the  same  manner  as  before;  a  comparison 
of  the  first  pattern,  with  that  of  the  second,  will  give  him 


TEXTILE  DESIGNING.  17 

some  idea  of  the  latitude  that  is  to  be  experienced  as  a 
designer  of  textile  fabrics. 

If  the  young  man  has  the  true  designer's  instinct,  these 
investigations  will  have  an  absorbing  interest;  they  will 
open  up  in  his  mind  a  field  for  thought  that  will  in  after 
years  bring  forth  better  results  than  any  school  of  design, 
so  called. 

Designing  is  an  art,  which  is  advancing  with  time. 
Although  new  ideas  are  not  originated  every  day,  yet 
almost  every  day  is  productive  of  new  novelties  by  some 
designer  gifted  with  originality,  or  by  an  attractive  com- 
bination of  old-time  novelties.  Hence,  it  will  be  seen  that, 
the  young  man  who  starts  out  to  follow  this  profession,  and 
is  determined  to  reach  the  goal  of  his  ambition,  must  be 
ever  011  the  alert  for  new  ideas;  and  when  brought  in  con- 
tact with  new  novelties,  he  should  be  ever  ready  with  his 
pencil  to  sketch  all  attractive  features  from  memory — if 
impossible  to  procure  a  sample  of  the  fabric.  For  this  pur- 
pose, he  should  have  a  scrap-book  in  which  to  make  such 
sketches,  and  keep  samples  for  future  reference.  By  this 
means,  he  will  obtain  many  valuable  ideas  which  otherwise 
might  never  have  come  to  his  mind. 

When  an  idea  is  obtained  in  this  manner,  proper  atten- 
tion should  be  paid  in  detail  to  its  execution.  If  a  stripe  or 
plaid  is  required  in  several  colors,  skill  should  be  displayed 
in  their  arrangement;  the  effect  is  invariably  spoiled  when 
some  unsightly  color  predominates. 

If  mixes  are  wanted,  good  judgment  should  be  displayed 
in  the  percentage  to  use  of  each  color,  as  a  little  out  of  the 
way  here  may  spoil  what  would  otherwise  have  been  a 
creditable  result.  Better  have  a  less  pretentious  design,  with 
colors  creditably  displayed,  than  one  too  pretentious  in 
both  texture  and  colors. 

There  is  another  feature  to  this  question,  of  which  we 
wish  to  speak  before  closing,  and  which  should  be  borne  in 
mind,  namely:  the  exercise  of  good  judgment  in  the  selec- 
tion of  stock,  and  in  deciding  the  size  to  spin  the  yarns. 

There  are  too  many  designers,  whose  judgment  in  this 

3 


I&  THE  SELF-INSTRTTCTOlTr 

respect,  is  as  execrable  as  their  mechanical  execution  may 
be  commendable.  In  other  words,  from  a  purely  mechanical^ 
standpoint,  their  productions  may  be  comparatively  fault- 
less, yet,  they  invariably  display  a  lack  of  judgment  and 
appreciation  in  the  "eternal  fitness  of  things,"  which  robs 
the  goods,  as  it  were,  of  their  merits.  In  this  profession,, 
as  in  all  others,  skill,  directed  by  practical  knowledge,  will 
prove  the?  victor. 

Again,  it  will  be  well  to  remember,  that  whatever 
prominence  is  attained  by  the  young  man  of  to-day,  in  the 
art  of  designing,  must,  properly  speaking,  be  the  result  of 
his  own  industry  and  perseverance.  Both  in  the  mill  and 
out  of  it,  he  should  be  of  an  inquiring  mind,  ask  for,  as  well 
as  give  explanations,  and  make  friends  of  those  who  are 
willing  to  exchange  knowledge  with  him. 


CHAPTER  IV. 

EXPLANATION  OF  THE   SIGNS  AND  CHARACTERS 
USED  IN  DESIGNING. 

The  necessity  of  introducing  certain  mathematical 
signs  into  a  work  of  this  kind  is  unavoidable,  and  perhaps 
by  some  beginners  the  use  of  these  signs  may  not  be  fully 
understood— especially  by  those  of  a  limited  education  in 
the  use  of  figures.  It  is  for  this  class  of  readers  that  the 
following  explanations  are  intended. 

MATHEMATICAL  SIGNS: 

-f-  Addition. 
—  Subtraction. 
X  Multiplication. 
-r  Division. 
~  Equality. 
%  Per  Cent. 
-f-  The  sign  of  addition  when  placed  between  two  num- 


5.  or  in  a  row  of  various  numbers,  signifies  that  they  "are 
$o  be  added  together;  the  result  obtained  is  called  the  sum* 

—  The  sign  of  subtraction,  when  placed  between  two 
numbers,  signifies  that  one  number  is  to  be  subtracted  from 
the  other;  the  result  obtained  is  called  the  difference  or 
remainder. 

X  The  sign  of  multiplication,  "when  placed  between 
two  numbers,  signifies  that  one  number  is  to  be  multiplied 
by  the  other;  the  result  obtained  is  called  the  product.  The 
multiplicand  is  the  number  which  is  multipled  by  another; 
the  multiplier  is  the  number  by  which  the  multiplicand  is 
multiplied, 

-r*  The  sign  of  division,  when  pla'ced  between  two  num- 
bers, signifies  that  one  number  is  to  be  divided  by  the  other; 
the  result  obtained  is  called  the  quotient.  The  number 
which  is  divided  by  another  is  called  the  dividend;  the  one 
by  which  it  is  divided  is  called  the  divisor, 

=  The  sign  of  equality  when  placed  between  two  num- 
bers, signifies  that  what  stands  before  it  equals  what  comes 
after  it,  whether  it  be  the  <l«ttm>*  ^remainder*  "product," 
or  "quotient." 

%  The  sign  of  per  cent,  is  used  for  the  words  percent., 
meaning  by  tne  hundred.  Thus,  20$  of  a  nunibe*  equals 
^V  °r  i  °f  the  number;  50$  equals  -f^  'or  £  Of  the  number, 
etc.  Hence,  it  will  be  seen  that,  percentage  or  p&r  cent,  is 
an  allowance  made  by  the  hundred.  The  ba'se  of  percentage 
is  the  number  on  which  the  percentage  is  reckoned.  This 
is  fully  illustrated  by  the  following  table, 

FRACTIONAL  EQUIVALENTS  IN  PERCENTAGE. 

50$  =.50  =i 

=±.05  =, 


The  characters  used  to  represent  the  working  of  threads 
in  a  weave,  design,  texture,  or  fabric,  differ  among  design- 
ers as  well  as  among  publishers  of  textile  works,  each  using 
them  according  to  their  own  liking.  Hence  an  explanation 
of  the  characters  used  by  us  both  in  designing  and  in  our 


20  THE  SELF-INSTRUCTOR, 

publications  is  in  order.  When  originating  a  design,  or  dis- 
secting a  sample,  we  use  this  character  X  to  represent  a 
riser,  or  in  other  words,  a  thread  up;  to  represent  a  sinker, 
or  in  other  words,  a  thread  down,  we  skip  one  small  square 
of  the  design  paper  without  making  any  mark.  If  we  wish 
to  designate  the  points  of  binding — as  in  case  of  a  double 
weave  or  backing, — we  use  this  character  0  to  represent  a 
binding  riser,  and  this  character  •  to  represent  a  binding 
sinker.  Sometimes  we  bring  into  play  these  two  latter 
characters  for  pointing  out  certain  peculiarities  in  a  design, 
In  the  publishing  business,  we  use  the  following 

DESIGN     CHARACTERS: 

•  This  represents  a  common  riser. 

•  This  represents  a  binding  riser. 

n  This  represents  a  common  sinker. 

o  This  represents  a  binding  sinker. 

Of  the  different  styles  of  characters  used  in  publishing 
in  this  line — and  there  are  many  of  them — the  above  are  far 
ahead  of  all  others.  They  are  not  only  tasty  and  compact, 
but  show  up  a  design  to  the  best  advantage. 

Characters  are  sometimes  used,  by  both  the  designer 
and  publisher,  over  the  top  and  at  the  side  of  a  design  to 
represent  certain  parts  or  threads,  instead  of  writing  out 
and  printing  the  particulars  in  full  each  time.  When 
such  is  the  case  there  is,  or  ought  to  be,  a  reference  made 
to  the  fact  in  the  subject-matter. 


CHAPTER  V. 

EXPLANATION  OF  DIFFERENT  TERMS   USED  BY  DESIGNERS. 

There  are  so  many  different  terms  used  by  designers, 
and  so  many  of  which  mean  the  same  thing  in  mill  par- 
lance, that  we  deem  it  best  to  present  here  a  few  words  of 
explanation  in  regard  to  the  relation  these  terms  bear 


TEXTILE  T/ESIG:NINGk  21 

to  each  other,  and  their  proper  use  and  full  meaning  as 
applied  in  this  line  of  industry. 

Dissecting,  ) 

Picking  Out, 

Pattern  Picking,  >  are  synonymous  terms,  which  mean, 

Drafting, 

Copying, 

taking  a  piece  of  fabric  and  picking  the  threads  out  from 
each  other  in  rotation,  and  marking  down  on  design  paper 
the  same  in  detail,  for  the  purpose  of  ascertaining  how  it 
was  woven,  the  number  of  threads  in  warp,  picks  per  inch, 
different  colors,  proportions  of  each,  kind  of  stock  and  size 
of  yarns;  also  all  other  points  necessary  in  order  to  imitate 
the  fabric.  Therefore,  the  beginner  should  bear  in  mind 
that  no  matter  how,  or  where,  these  terms  are  used  in  con- 
nection with  textile  designing,  they  mean  one  and  the  same 
thing.  The  term  "dissecting"  is,  generally  speaking,  the 
most  proper,  although  "picking  out"  and  <  'drafting"  are 
often  used  as  the  most  natural,  while  "pattern  picking"  and 
* 'copying"  are  used  the  least  of  all. 

Pickout,  \ 

WravmgPlan,  \  are  sy11011?*10^  terms  applied  to  the 

Texture,  '  J 

full  plan  of  interweaving  the  threads  in  a  fabric;  the  plan 
being  obtained  by  dissecting  a  fabric,  or  from  origination. 
This  result  is  then  reduced  (if  possible,  and  found  necessary) 
to  its  lowest  term  for  finding  the  weave,  and  drawing-in 
draft.  If,  after  dissecting  or  originating  a  design,  it  is 
found  that  it  cannot  be  reduced,  it  would  be  taken  as  the 

Weave,  ^ 

Sarnes^Chain,  }  a11  of  which  are  ^onymous  terms, 

Pegging  Plan,    J 

and  apply  to  the  setting  of  that  part  of  the  loom  which 
causes  the  harnesses  to  work  up  and  down  in  their  respec- 
tive order.  The  term  "pegging  plan"  is  seldom  used  except 
in  connection  with  looms  not  having  the  roller  and  tube 
system  of  chain. 


22  THE  SELF-INSTRUCTOR, 

Drawing-in  Draft, 

Cross-drawing-in  Draft, 

Harness  Draft,  >  are  synonymous  terms,  and 

Heddle  Draft, 

Cross  Draw,, 

apply  to  drawing  the  warp  threads  into  the  heddles  in  the 
order  as  required  on  each  harness. 

If  figures  are  employed  to  represent  threads  in  the 
drawing-in  draft,  each  number  is  to  represent  one  thread, 
and  to  be  drawn  into  a  heddle  on  the  corresponding  number 
of  harness:  If  characters  are  employed,  then  each  charac- 
ter will  represent  a  thread  to  be  drawn  into  a  heddle  on  the 
number  of  harness  in  line  of  the  character.  Harnesses 
should  always  be  numbered  from  the  front  of  loom  to  the 
back  or  rear  harness  in  their  numeral  order,  as  1,  2,  3,  4,  etc. 

The  above  is  fully  demonstrated  by  the  following 
illustrations: 

FIG.  1. 

\    /    ,„    X   ,»' 

338  3 

222  2 

1  1  1111  1 

_  FIG.  2. 

( «  ffiBHS^^fflSB 
Har.  Nos. 


!e  j-jmaujg 
ilffi 


BIBtBIBI  'BIBtBIBt  BIBI  IB 

iB  SSi    •  i  SiSSFPPifiS  fiii5i5fBi5MiF&ifi 
!B!B!*!-"HBg!glgL.  BlBiBlffHI  .Iff 


Fig.  1  illustrates  the  drawing-in  draft  of  a  six-harness 
herring-bone  and  basket  pattern,  made  out  with  figures: 
The  position  of  these  figures  clearly  indicate  which  is  the 
front  of  the  draft;  hence  it  is  not  necessary  that  the  har- 
ness numbers  be  placed  at  the  left. 

Fig.  2  represents  the  same  draft  made  out  with  charac- 
ters, and  the  harness  numbers  given  at  the  left.  If  these 
numbers  were  not  so  placed,  the  drawer-in  would  have  no 
practical  guide  to  follow;  therefore,  it  is  always  best  to 
mark  the  harness  numbers  at  the  left  of  the  draft,  which- 
ever way  it  is  made  out,  to  avoid  mistakes. 

The  figure  method  is  more  practicable  for  general  use 
in  mills;  the  character  method  is  better  adapted  to  publish- 
ing, hence  the  reason  of  its  being  used  so  commonly. 


TEXTILE   DESIGNING.  23 

Straight  Draft,  ) 

Draw-in  straight  across,  >•  are  synonymous  terms  signi- 

Straight  Draw,  ) 

fying  to  commence  with  the  front  harness  and  draw  a 
thread  on  each  harness  in  numeral  order  to  the  back;  thus 
continuing  throughout  the  warp. 

Binding,     ) 

Stitching,  [•  are   synonymous  terms,  and  in  this  work 

Tying,        ) 

apply  to  certain  threads  or  parts  of  a  texture  which  unite 
separate  weaves,  one  above  the  other,  in  such  a  manner  that 
when  cloth  is  woven  from  them  the  result  is  one  fabric;  or, 
in  other  words,  unite  fabrics  of  the  same  or  different  weaves 
so  that  they  appear  and  in  fact  become  one.  This  is 
accomplished  by  the  warp  of  one  being  interwoven  with 
the  filling  of  the  other,  or  vice  versa;  but  it  should  be  done 
in  such  manner  as  not  to  interfere  with  the  general  appear- 
ance of  the  top  weave  or  face  of  the  cloth.  Hence,  it  will 
be  seen  that,  the  points  selected  for  binding  must  be  where 
the  filling  of  one,  and  the  warp  of  the  other  meet,  so  that 
there  will  be  no  chance  when  they  do  meet  of  one  shoving 
the  other  up  to  the  surface. 

The  amount  of  binding  is  governed  by  the  designer's 
option.  If  he  desires  a  tight  and  hard-feeling  cloth,  he  will 
bind  the  weaves  as  often  as  practicable;  while  on  the  other 
hand  if  a  loose  and  soft-feeling  cloth  be  desired,  he  will 
bind  the  weaves  only  as  often  as  necessary  to  properly  hold 
them  together.  Whether  it  be  desired  to  have  the  binding 
of  a  tight  or  loose  nature,  the  same  principle  should  be 
adhered  to  in  regard  to  the  point  or  place  of  binding. 

The  beginner  will  observe  from  these  remarks  that  he 
should  possess  a  thorough  knowledge  of  this  branch  of 
weaving. 


THE*  SELF-INSTRUCTOR,. 


CHAPTER  VI, 

HINTS  ON'  PREPARING  ANI>  EXAMINING  SAMPLES 
BEFORE  DISSECTING. 

There  is  an  unlimited  number  of  styles  in  woolen 
fabrics,  all  of  which  are  dissected  on  the  same  principle; 
but  there  are  different  methods  of  preparing  samples  for 
dissecting,  and  determining  the  warp  and  filling.,  which 
we  will  endeavor  to  explain  in  a  comprehensive  manner. 

When  having  in  hand,  to  dissect,  a  sample  of  the  much- 
felted  kind  with  more  or  less  nap  on  one  or  both  sides,  the 
nap  should  be  removed  by  shaving  it  off;  or,  by  holding  the 
sample  over  a  burning  match  until  the  nap  is  evenly  singed, 
then,  with  a  knife,  scrape  off  the  burnt  nap.  Now,  if  the 
threads  do  not  show  up  clear  on  both  sides,  repeat  the  oper- 
ation until  they  do,  leaving  the  threads  bear  on  both  the 
face  and  back  of  sample. 

Now,  with  the  dissecting  instrument, — which  should  be 
a  small,  round,  sharp-pointed  awl,  or  a  large  needle  fastened 
into  a  handle  suitable  to  the  hand— remove  a  few  threads 
each  way  of  the  sample,  and  by  carefully  testing  their 
strength,  and  the  amount  of  twist  in  them,  it  may  be  easily 
determined  which  are  the  warp  and  which  the  filling,  as 
the  warp  is  supposed  to  be  the  harder  twist  and  stronger 
yarn  of  the  two. 

The  above  manner  of  ascertaining  which  way  the  warp 
and  filling  run  in  the  sample,  is  necessary  only  with  those 
of  plain-face;  as  those  having  figures  or  stripes  of  different 
yarns  and  colors,  or  a  combination  of  weaves,  make  this 
point  discernible  in  the  sample  at  once.  There  are,  how- 
ever, samples  in  which  it  is  almost  impossible  to  distin- 
guish the  warp  from  the  filling  except  by  backing  threads 
which  if  found  to  run  one  way  only,  may  usually  be 
considered  as  filling.  But  if  backing  threads  are  found  to 


TEXTILE  DESIGNING.  '25 

run  both  ways,  those  in  the  warp  are  not  usually  as  coarse 
as  those  in  the  filling. 

There  is  another  class  of  fabrics  in  which  it  is  almost 
an  impossibility  to  distinguish  the  warp  and  filling  ways  of 
a  sample  except  by  dissecting  and  studying  it  out  from  the 
appearance  of  the  pickout;  in  such  cases  a  man  must  be 
pretty  well  versed  in  weaves  or  he  will  be  led  astray. 

Again,  there  is  a  variety  of  fabrics  which  are  woven 
with  what  we  call  the  square  and  evenly-balanced  weaves; 
that  is,  they  have  the  same  number  of  threads  in  the  text- 
ure both  warp  and  filling  ways,  with  the  same  number  of 
risers  and  sinkers.  With  this  class  of  fabrics,  it  makes  no 
material  difference  which  side  up  or  which  way  a  sample 
is  dissected,  the  result  would  be  the  same. 

There  is  also  a  class  of  weaves,  and  goods,  to  which  we 
wish  to  call  the  beginner's  particular  attention.  They  are 
known  as  "corkscrew"  weaves,  and  the  goods  are  usually 
made  of  worsted,  or  an  imitation  of  worsted  yarns.  These 
goods  are  woven  with  an  odd  number  of  harnesses  and  bars 
of  chain — both  the  number  of  harnesses  and  bars  of  chain 
being  equal  when  weaving  plain, — such  as  5,  7,  9,  11,  13,  15, 
etc. ;  but  when  weaving  in  dots  or  figures  of  fancy  colors, 
the  chain  draft  often  exceeds  the  drawing-in  draft  several 
times  over  and  vice  versa. 

It  would  be  very  difficult  for  a  beginner,  not  acquainted 
with  "corkscrew"  weaves,  to  take  a  plain  sample  all  of  one 
color,  cut  square,  and  tell  either  by  the  yarn  or  from  the 
pickout  which  is  the  warp  way,  and  which  the  filling  way. 
However,  this  may  be  readily  determined  by  the  twill  or  bias 
rib,  which  runs  more  biassing  or  diagonally  across  the  fabric 
the  filling  way, — the  least  bias  running  the  warp  or  length 
way  of  the  fabric — being  just  opposite  from  what  a  person 
would  naturally  think  from  general  appearance,  and  never 
having  seen  the  goods  in  a  full  piece  or  made  up. 


THE   SELF-INSTRUCTOR, 


CHAPTER  VII. 

THE   PROCESS   OF  DISSECTING   AND   LAYING   OUT 
'FOR   THE   FABRIC   ILLUSTRATED. 

Having  explained  the  signs,  characters  and  principal 
terms  used  in  designing,  and  also  the  manner  of  preparing 
samples  for  dissecting,  we  will  now  proceed  with  the  dissect- 
ing of  a  sample  in  the  full  sense  of  the  term.  For  the  pur- 
pose of  illustrating  the  operation,  and  to  show  the  beginner 
more  fully  whereof  we  speak,  the  author  has  expressly 
designed  and  made  the  following  fabric:  See  sample  card, 
Sample  No.  1. 

By  referring  to  this  sample  it  will  be  seen  that  it  is 
composed  of  two  diagonal  stripes  with  a  basket  stripe  run- 
ning between  them,  at  each  side  of  these  there  is  a  series 
of  narrow  herring-bone  stripes  forming  a  stripe  a  trifle  nar- 
rower than  the  two  diagonals  and  basket,  making  in  all  a 
combined  stripe,  or  pattern,  of  about  1|  inches  in  width. 
A  glance  at  the  sample  is  sufficient  to  show  that  the  stripe 
runs  with  the  warp  the  short  way,  and  that  the  filling  runs 
right  and  left  the  long  way,  also  that  it  contains  two  com- 
plete patterns;  but  as  the  sample  was  cut  through  the  centre 
of  one  of  the  diagonal  stripes,  it  leaves  eight  or  ten  threads 
at  the  right  of  the  herring-bone  stripe. 

Now  in  making  ready  to  dissect  fancy  patterns,  bear  in 
mind  to  commence  at  some  distinct  point  in  the  pattern 
when  possible  to  do  so;  that  is  to  say,  commence  at  the 
beginning  of  a  stripe  or  figure  whether  the  same  was  pro- 
duced in  dressing  the  warp,  or  in  weaving.  For  instance, 
with  this  sample,  it  would  be  proper  to  commence  on  either 
side  of  the  herring-bone  stripe,  or  with  the  basket  stripe, 
and  pick  out  to  another  similar  point  in  the  sample;  this 
will  produce  the  pattern  on  design  paper  undivided,  while 


TEXTILE  DESIGNING.  •„'; 

if  it  were  commenced  in  the  middle  of  the  herring-bone,  or 
either  of  the  diagonal  stripes,  it  would  divide  that  part  of 
the  pattern  and  not  produce  as  good  an  appearance  on  the 
paper;  besides  too,  it  would  divide  both  the  dressing  pattern 
and  drawing-in  draft,  thus  giving  the  work  a  more  compli- 
cated appearance.  This  should  be  avoided  if  possible,  and  the 
pickout  made  to  appear  as  simple  as  possible.  Of  course  it 
does  not,  generally  speaking,  make  any  material  difference 
at  what  place  in  a  sample  you  commence  to  dissect;  for  if 
you  pick  out  to  the  commencement  point  the  result  will  be 
the  same.  But  always  commence  at  the  right-hand  side  of 
a  pattern  and  pick  to  the  left,  setting  the  result  down  on 
design  paper  working  to  the  left.  We  are  well  aware  that 
all  designers  do  not  agree  with  us  in  this  manner  of  work- 
ing, as  some  commence  at  the  left-hand  side  and  work  to 
the  right,  but  practical  experience  will  prove  that  the  form- 
er way  is  the  better  for  general  convenience. 

The  manner  of  holding  the  sample  is  as  follows:  Place 
it  in  the  left  hand  over  the  first  or  index  finger,  then  bring 
the  thumb  down  on  one  side  and  the  second  finger  up  over 
the  sample  on  the  other  side;  with  the  thumb  and  second 
finger  draw  the  sample  down  tightly  across  the  first  finger, 
Now  take  the  dissecting  instrument  in  the  right  hand,  with 
it  raise  and  pull  out  the  filling  threads  until  about  ^-inch 
of  the  warp  threads  are  free  and  clear  of  the  filling  across 
the  sample,  or  as  far  as  necessary  to  pick  out,  width  way. 
Now  cut  off  a  few  of  the  warp  threads  on  the  right-hand 
side  of  sample,  down  to  the  filling,  and  in  for  about  i-inch. 
Our  sample  in  the  present  instance  has,  as  before  stated, 
eight  or  ten  threads  of  the  diagonal  stripe  left  at  the  right 
of  the  herring-bone  stripe;  we  will  therefore  cut  off  these 
threads  in  to  the  first  thread  of  this  stripe,  which,  as  will  be 
seen  by  referring  to  the  sample,  is  a  red  and  green  double 
and  twist  thread,  (usually  written  D.  &  T.  thread).  This 
being  a  fancy  thread,  and  the  first  one  come  to  in  the  her^ 
ring-bone,  we  will  take  it  as  the  guide  thread  or  starting 
point.  Every  thing  now  being  in  readiness  for  operation, 
the  dissecting  is  continued  in  the  following  manner. 


28  THE  SELF-INSTRUCTOR, 

With  the  dissecting  awl,  raise  a  filling  thread  up  loose 
from  the  others  and  on  examination  we  find  that  it  passes 
under  the  first  two  warp  threads;  now  as  these  two  threads 
must  have  been  raised  in  order  to  admit  the  filling  passing 
under  them,  we  call  them  two  up  and  mark  down  the  same 
on  design  paper  thus  XX,  then  over  the  top  of  these, char- 
acters write  down  the  color  and  kind  of  thread  each  char- 
acter represents.  Now  pass  these  two  threads  to  the  right 
and  under  the  second  finger.  Examine  the  next  threads  in 
rotation  (being  careful  not  to  get  them  crosswise  of  each 
other),  and  we  find  there  are  three  of  them  down  in  succes- 
sion, under  the  filling  thread;  now  as  these  threads  must 
have  been  sunk  in  weaving  to  admit  the  filling  passing  over 
them,  call  them  thr/e^spZand  note  the  same  on  design  paper 
by  passing  three  blank  squares  without  making  any  mark, 
or.  by  marking  down  three  dots  thus  •  •  • ,  after  which  the 
color  and  kind  of  thread  is  written  over  the  top  of  each  char- 
acter as  before,  then  pass  these  threads  to  the  right,under  the 
second  finger.  In  this  manner  proceed  to  the  left  marking 
down  the  warp  threads  as  they  appear  over  and  under  the 
filling  thread,  whether  one  or  more  at  a  time,  until  a  repeti- 
tion of  the  work  is  found,  or  in  other  words,  the  full  width 
of  the  weaving  plan.  This  brings  us  to  a  place  in  the  pat- 
tern corresponding  to  the  place  where  we  commenced.  Now 
pull  out  this  filling  thread,  No.  1,  and  write  down  the  color 
with  other  particulars,  if  any,  at  the  right.  Now  loosen  up 
another  filling  thread  and  proceed  in  the  same  manner  as 
before, except  there  will  be  no  writing  down  of  warp  threads 
as  that  was  done  away  with  in  picking  out  the  first  thread. 
The  filling  threads  ought  to  be  marked  at  the  right  of  the 
pickout  only  as  they  are  taken  out  one  at  a  time,  and  this 
is  not  necessary  unless  there  are  two  or  more  kinds  of 
filling.  After  taking  out  the  second  filling  thread,then  take 
up  the  third,  and  so  proceed  until  the  twelfth  thread  is  taken 
out.  which  brings  us  to  a  repetition  in  the  weaving  of  the 
warp  threads;  that  is,  the  thirteenth  thread  is  found  to  be 
the  same  as  No.  1,  thus  making  a  repeat  in  the  pickout  both 
warp  and  filling  ways.  This  gives  us  what  is  called  a 


save.  Weave.        » 

ZZZBMZ£    ZZM«Z»    5 
• •  ••       •••-  - 


_„__    •  „_ 

iS 


IzzBilzs  IzzzIIizzzIS? 


S.-yuF.HH,   ^gZ^ 

_  _•[_[„  _ii_i  <•    C^J— iL^Hi— L..J 

Snnan^s  ™      ZZMZZ: 
nnan 


These  fijrures  represent  the  number  of  threads  drawn  on  each  barnesc, 
and,  if  multiplied  by  the  number  of  patterns  ill  the  warp,  will  tfive  the  required 
heddles  for  each  harness. 


.:  §!HHHHH£ 

number  of       ' 


TE1TTILE  DESIGNING,       .  29 

. — See  Plate  L  On  counting  tlie  threads  hi  this 
pickout  we  find  there  are  90,  or  in  other  words,  there  are 
90  threads  in  the  pattern  crosswise  of  the  warp,  the  way 
the  filling  runs;  and  12  threads  in  the  pickout  crosswise  of 
the  filling,  the  way  the  warp  runs.  Therefore,  to  weave 
this  pattern  with  a  straight  draft,  that  is,  without  reducing 
it,  would  require  a  loom  operating  90  harnesses  and  12 
bars  of  chain.  Hence  it  will  be  seen,  that  to  weave  this 
pattern  in  an  ordinary  fancy  loom,  it  must  be  reduced  and 
wove  with  a  cross  draft,  which  is  accomplished  in  the 
following  manner. 

Commence  with  the  first  warp  thread  at  the  left-hartal 
side  of  pickout — which  is  called  the  "f  rent,"  and  reads  from 
the  bottom  upwards,  1  up,  1  down,  4  up,  1  down,  .1  up,  4 
down— and  mark  it  as  No.  1,  then  proceed  to  the  right, 
looking  over  each  warp  thread  in  rotation,  and  all  threads 
found  to  read  the  same  as  No.  1,  mark  with  the  figure  1. 
There  are  found,  in  looking  through  the  whole  pickout,  B? 
threads  that  read  the  same  as  No.  1,  consequently  each  of 
them  is  marked  with  the  figure  1.  All  of  these  ^threads 
are  to  be  drawn  into  the  heddles  on  No.  J  harness,  and 
as  these  threads  read,  so  must  that  part  of  the  chain  draft 
read  that  operates  No.  1  harness. 

Commence  again  at  the  left-hand  side,  the  first  thread 
we  come  to  which  is  not  numbered,  mark  as  No.  2,  then  pro- 
ceed in  the  same  manner  as  before,  marking  each  thread 
that  reads  the  same  as  No.  2,  with  the  figure  2.  There  are 
found  13  threads,  which  are  to  be  drawn  into  the  heddles  on 
No.  2  harness,  and  as  these  threads  read,  so  must  that  part 
of  the  chain  draft  read  that  operates  No.  2  harness.- 

In  the  above  manner  continue  the  reducing,  working 
to  right,  numbering  the  threads  found  to  read  differently, 
in  their  numeral  order,  until  every  thread  in  the  pickout  is 
numbered.  The  highest  number  obtained  represents  the 
least  number  of  harnesses  required  to  weave  the  pattern 
with  a  cross  draft.  In  the  present  instance,  it  will  be  seen 
that  the  highest  number  is  six;  hence  this  pattern  of  90 
threads  straight  draft  can  be  reduced  to  and  woven  on  six 


:}()  .        THE   SELF-INSTRUCTOR, 

harnesses  with  a  cross  draft.  Each  thread,  as  numbered  at 
the  bottom  of  the  pickout,  is  to  be  drawn  into  the  heddles 
011  a  corresponding  number  of  harness.  Also,  the  weaving 
of  one  thread  of  each  number,  drawn  off  and  set  down  in 
their  numeral  order,  produces  the  chain  draft  or  wearc  to 
be  used  with  the  cross  draft. 

See  first  method  of  reducing,  Plate  I.,  which  illustrates 
the  above  and  the  pickout  reduced  to  its  lowest  term;  also 
the  dressing  pattern,  which  is  as  follows: 

21  White,  6  White, 
5  Black,                                     6  Olive, 

22  White,  6  White, 
1  Red  and  Blue  D.  &  T.,         5  Olive, 

5  Olive.  1  Red  and  Green  D.  &  T. 

6  White, 

6  Olive,  90  threads  in  one  dressing 

pattern.  Filling,  1  pick  of  black,  and  1  pick  of  drab,  alter- 
nately— commonly  called  "pick  and  pick." 

If  it  is  more  convenient  or  easier  to  pick  out  the  warp 
threads  from  the  filling,  then  commence  at  the  lower  right- 
hand  corner  of  sample,  (see  sample)  turn  it  part  way  round 
until  this  corner  is  in  the  position  of  the  present  upper  right- 
hand  corner;  then  proceed  with  the  dissecting  as  before 
described,  except  in  reading  and  writing  down  the  result, 
the  work  is  just  the  reverse:  Thus,  for  instance,  when  the 
filling  threads  are  down  or  under  the  warp  threads  they 
should  be  read  as  UP,  and  when  the  filling  threads  are  up 
or  over  the  warp  threads  they  should  be  read  as  DOWN,  and 
marked  on  the  design  paper  reading  upwards  so  as  to  read 
from  the  bottom  to  the  top.  Thus  the  first  thread  of  the 
pattern  before  us.  picked  out  in  this  manner,  would  read 
1  down,  1  up,  4  down,  1  up,  1  down.  4  up. — See  pickout. 

The  weaving  of  each  thread  should  be  marked  down  at 
the  left  of  the  first,  which  will  produce  the  same  result  as 
though  dissected  the  former  way. 

In  dissecting  this  sample  the  filling  way.  there  have  to 
be  picked  out  12  threads  of  filling  that  were  interwoven 
with  90  threads  of  warp;  in  dissecting  it  the  warp  way. 


TEXTILE   DESIGNING.  31 

there  have  to  be  picked  out  90  threads  of  warp  that  were 
interwoven  with  12  threads  of  filling. 

The  next  thing  in  order,  in  this  business,  is 

TO   FIND   THE   NUMBER   OF   THREADS    IN   THE   WARP: 

First,  ascertain  the  number  of  warp  threads  contained  in 
one  inch  of  the  sample;  in  the  present  instance  we  find  by 
actual  count  that  there  are  66.  Now  multiply  this  number 
by  the  number  of  inches  the  good  are  to  measure  when 
finished,  which  is  as  a  general  rule  27  inches,  (three-fourths 
of  a  yard)  for  single  width  cassimeres  inside  the  selvage. 

Thus,  66  X  27  =  1782  threads;  but  as  1782  is  not  divisible 
by  90,  the  number  of  threads  in  a  pattern,  and  as  it  should 
be,  we  will  add  18  threads,  making  in  all  1800  in  the  warp. 
This  number  divided  by  the  number  of  threads  in  one  pat- 
tern will  give  the  whole  number  of  patterns  in  warp,  as 
follows:  1800 -=-90  =  20  patterns  of  90  threads  each,  thus 

61  White, 
5  Black, 

22  Olive, 

1  Red  and  Blue  D.  &  T., 
1  Red  and  Green  D.  &  T. 

90  threads  in  pattern;  20  patterns  in  warp  would  require 
just  twenty  times  that  amount  of  each  kind  of  yarn  in  a 
warp,  thus: — 

61  X  20=  1220  threads  of  white. 
5  X  20  =    100  threads  of  black. 
22  X  20  =r   440  threads  of  olive. 
1  x  20  =     20  threads  of  red  and  blue  D.  &  T. 
1X20=     20  threads  of  red  and  green  D.  &  T. 

90  1800  threads  in  warp. 

In  estimating  the  number  of  ends  in  a  warp  on  a  basis  of 
27  inches,  it  is  better  to  add  to,  than  to  take  from  the  result, 
as  marketable  goods  are  more  apt  to  be  27^  or  28  inches  in- 
side of  selvage  than  under  27  inches,  hence  the  reason  of 
adding  18  threads  in  the  above  instance. 

Some  designers  use  28  inches  as  a  basis  of  figuring  in 


32  THE  SELF-INSTRUCTOR, 

order  to  make  sure  of  enough  threads;  in  which  case  a  few 
threads  may  be  taken  from  the  result  if  found  ne'cessary  to 
even  up  on  the  number  of  ends,  or  to  secure  whole  patterns. 

A  warp  should  always  contain  a  whole  number  of  pat- 
terns, (though  the  number  of  patterns  may  be  odd  or  even) 
that  is,  there  should  be  no  threads  left  over  a  whole  pattern. 

In  dressing  warps,  if  the  warp  is  all  one  kind  of  yarn,  it 
will  make  no  material  difference  in  the  result  as  shown 
above,  except,  adding  to,  or  taking  a  few  threads  from  the 
result,  will  often  make  the  spooling  and  dressing  much 
handier,  thus  saving  the  dresser  both  time  and  trouble. 

The  next  tiling  with  which  we  have  to  deal  is  the 
laying  out — 

TO  FIND  THE   AMOUNT  OF  YARN  REQUIRED  FOR  WARP. 

For  this  purpose  we  will  suppose  that  we  are  required  to 
lay  out  and  make  of  finished  goods  2000  yards  like  sample. 
Roughly  estimating,  we  will  add  for  the  takeup  in  weaving 
and  shrinkage  in  finishing  10  per  cent.  This  will  make  a 
total  of  2200  yards  of  warp  to  figure  on,  which  if  divided 
into  &  warps,  will  give  4H8  yards  per  warp  of  iCcuts, — 
that  is  .S^yards  per  cut  or  piece. 

The  warp  yarns,  in  this  sample,  were  spun  as  follows: 

White  3f  runs. 

Black   3f  runs. 

Olive    3|  runs. 

Bhfe      7    £mt  [  W™&ed  in  the  D.  &  T.,  3*  runs. 

G?een  7    rlmt  |  Weighed  in  the  D.  &  T.,  3*  runs. 

The  question  now  before  us  is,  how  many  pounds  of 
each  kind  of  yarn  are  required  in  2200  yards  of  warp?  This 
is  figured  out  (and  answered)  as  follows: 

Multiply  the  number  of  threads  of  each  kind,  by 
the  number  of  yards  of  warp  we  are  required  to  make; 
the  product  will  be  the  total  length  in  yards  of  that  partic- 
ular thread  or  kind  of  yarn;  this  number  divided  by  the 
number  of  yards  the  yarn  is  spun  to  the  pound,  will  give 
the  number  of  pounds  of  yarn  required  of  that  one  kind. 


TEXTILE   DESIGNING.  33 

In  this  manner  figure  out  for  each  different  kind  and  size 
of  yarn  used  in  the  warp. — Thus, 

Threads  of  each    Yds.  of  warp    Yds.  of  each    Yds.  spun     Lbs.  of 
kind  in  warp.  required.  kind.  per  Ib.          each. 

White  1220  X  2200  =  2,684,000  —  6000  =  448 

Black  100  X  2200  =     220,000  —  5800  =    38 

Olive  440  X  2200  =     968,000  —  6000  =  161 

D.  &  T.  20  X  2200  =       44,000  —  5000  =     9  (4i  each,  r.  &  b. ) 

D.  &  T.  20  X  2200  =       44,000  —  5000  =     9  (4  each,  r.  &  g. ) 

Total,  665  Ibs.,  the  com- 
bined weight  of  yarn  required  to  make  5  warps  of  440  yards; 
being  12  cuts  of  36|  yards  each,  or  in  all,  2200  yards. 

If  the  warp  had  all  been  of  one  kind  of  yarn,  and  spun 
3f  runs  throughout,  the  figuring  then  would  have  been  as 
follows:  1800  X  2200  =  3,960,000  -^  6000  =  660  Ibs.;  being 
5  Ibs.  less  than  the  former  figuring.  This  is  owing  to  the 
black  yarn  weighing  1-run,  and  the  double  and  twist  f-run 
heavier  than  the  other  yarn.  Besides  too,  in  the  former 
figuring,  we  reckoned  all  fractions  of  pounds  as  whole 
numbers.  This  gave  us  whole  pounds  as  follows:  448  white 
yarn,  38  black,  161  olive,  9  red  and  blue  D.  &  T.,  9  red  and 
green  D.  &  T.  Of  course,  as  red  was  used  with  both  the 
blue  and  green  threads,  there  would  necessarily  be  the  same 
amount  of  red  yarn  as  in  both  those  colors  taken  together; 
making  separately  of  the  D.  &  T.  yarns,  9  Ibs.  of  red,  and 
±i  Ibs.  each  of  blue  and  green. 

In  figuring  for  the  amount  of  clean  wool  required  to 
produce  each  kind  of  yarn,  add  a  percentage  sufficient  to 
cover  the  loss  in  carding,  spinning,  spooling,  and  dressing; 
this  will  vary  between  15  and  35$,  according  to  quality  of 
stock,  general  facilities,  and  supervision  of  the  work  in  the 
several  departments.  The  next  thing  in  order  is, 

TO   FIND   THE  REQUIRED   REED. 

Divide  the  total  number  of  ends  in  warp,  by  the  number 
of  inches  wanted  in  the  reed  inside  of  selvage;  this  quo- 
tient divided  by  the  number  of  threads  wanted  in  a  dent, 
will  give  the  number  of  reed  required. 

EXAMPLE. — The  warp  contains  1800  ends,  and  we  desire 

5 


34  THE   SELF-INSTRUCTOR, 

to  lay  it  36  inches  in  the  reed,  inside  of  selvage,  4  threads 
per  dent.     What  is  the  number  of  reed  required? 

Threads     Inches      Threads     Threads      No.  of 
in  warp,     in  reed,     per  inch,     per  dent.       reed. 

1800  —  36  =  50  -r-  4  =  12i.  Or  5  thr's  per  dent,  thus 

1800  -r-  36  =  50  H-  5  =10  reed. 

In  patterns  of  combined  weaves,  it  is  sometimes  found 
necessary  to  reed  each  weave  or  figure  differently  in  order 
to  produce  the  desired  effect  in  the  finished  fabric:  that  is, 
each  dent  will  not  contain  the  same  number  of  threads 
throughout  the  reeding,  as  in  the  ordinary  way.  In  cases 
of  this  kind,  we  find  the  average  number  of  threads  in  each 
dent,  then  proceed  as  before. 

EXAMPLE. — Suppose  we  have  a  warp  to  reed,  2  threads 
in  the  1st  dent,  3  in  the  3d,  4  in  the  3d,  5  in  the  4th,  and  6  in 
the  5th;  what  will  be  the  average  number  of  threads  in 
each  dent? 

Add  together  the  number  of  threads  in  the  set,  and 
divide  by  the  number  of  dents  in  that  set.  Thus. 

2-f-3+4-|-5-|- 6=20  threads,  in  a  set  of  5  dents;  20-^5=4 
threads,  average  per  dent. 

Again,  suppose  we  wish  to  draw  6  threads  in  each  of 
six  dents,  and  3  threads  in  each  of  three  dents: 

6+6+6+6+6+6+3+3+3=45  threads  in  a  set  of  9  dent  a; 
454-9=5  threads,  average  per  dent.  In  this  manner  the 
average  number  of  threads  per  dent,  in  any  style  of  reeding, 
may  be  easily  found.  The  next  thing,  to  which  we  will  call 
the  reader's  attention,  is  how 

TO   FIND   THE   AMOUNT   OF   YARN   REQUIRED 
FOR   THE   FILLING. 

Multiply  the  number  of  picks  per  inch,  in  loom,  by  the 
number  of  inches  the  warp  is  laid  in  the  reed,  including  sel- 
vage; the  result  obtained  will  be  the  number  of  yards  of  fill- 
ing in  one  yard  of  flannel;  multiply  this  product  by  the  num- 
ber of  yards  of  warp  to  be  filled,  divide  the  result  obtained 
by  the  number  of  yards  the  filling  is  spun  per  pound,  and 
the  quotient  will  be  the  total  weight  of  filling  required. 

-    To  illustrate,  suppose  we  find  by  actual  count  that  there 
are  65  picks  per  inch  in  the  sample;  the  filling  of  which  was 


TEXTILE  DESIGNING.  35 

spun  4  runs,  or  6400  yards  to  the  pound.  Now,  as  there  is 
the  "take-up"  in  weaving,  as  well  as  the  contraction  of  the 
cloth  in  finishing,  for  which  we  must  make  allowance,  it  will 
not  do  to  figure  on  65  picks  in  loom;  hence,  we  will  calculate 
on  a  shrinkage  of  1  pick  in  13,  which  will  give  us  60  picks 
per  inch  in  loom,  for  65  picks  per  inch  when  finished.  As 
previously  decided,  the  warp  is  laid  36  inches  in  the  reed, 
inside  of  selvage;  to  this  we  will  add  1  inch  for  selvage, 
making  in  all.  37  inches  the  total  width  in  loom.  This 
multiplied  by  60  picks  per  inch,  will  give  the  following: 

37  X  60  =  2220,  yards  of  filling  in  one  yard  of  flannel. 
This  product  multiplied  by  2200,  the  yards  of  warp  to  be 
filled,  will  give  the  following: 

2220  X  2200  =  4,884,000  total  number  of  yards  of  filling 
required  to  fill  2200  yards  of  warp.  This  product  divided 
by  i;400  yards,  length  the  filling  is  spun  per  pound,  will 
give  the  following: 

4,884,000 -^  6400  =  763|  Ibs.,  call  it  764,  of  filling  yarn 
required  to  fill  2200  yards  of  warp;  one-half  (382  Ibs.)  of 
which  is  black  yarn,  and  the  other  half  (382  Ibs.)  drab. 

To  get  at  the  amount  of  clean  wool  required  to  make 
each  kind  of  filling,  add  a  percentage  sufficient  to  cover  loss 
in  carding,  spinning  and  weaving;  this  will  vary  in  the 
same  manner  as  when  figuring  the  wool  for  warp. 

This  figuring  on  the  loss  or  shrinkage  between  the  clean 
wool,  as  taken  to  the  picking  room,  and  the  finished  goods 
or  even  goods  in  the  flannel,  can  be  gotten  down  to  a  fine 
thing  only  by  close  observation  on  the  part  of  the  designer 
or  superintendent;  even  then  it  requires  much  skill,  as  well 
as  practical  experience. 

Having  figured  for  the  warp  and  filling  yarns  in  the 
above  calculations,  the  next  thing  in  order  is, 

TO   FIND   THE   NUMBER   OF   SECTIONS   AND   NUMBER   OF 
SPOOLS   REQUIRED    UP. 

Divide  the  number  of  threads  in  warp,  into  sections 
containing  a  whole  number  of  patterns  in  each;  that  is.  each 
section  should  contain  whole  patterns,  though  these  may 
be  either  even,  or  odd  in  number;  but  no  pattern  should  be 


.'{•I  THE   SELF-INSTRUCTOR, 

divided,  by  running  part  of  it  in  one  section  and  part  in 
another  section,  except  in  extreme  cases. 

In  the  present  instance  we  have  calculated  on  1800  ends 
in  warp,  which  consists  of  20  patterns  of  90  threads  each. 
What  is  the  required  number  of  sections?  Both  1800,  and 
20  are  divisible  by  2,  4,  5,  10  and  20  without  a  remainder, 
hence  one  of  these  latter  numbers  must  be  taken  as  the 
number  of  sections  to  make.  Now  as  2,  10  and  20,  are  in 
the  extreme,  it  rests  with  the  number  4,  or  5,  and  we  will 
proceed  to  find  out  which  of  the  two  is  preferable.  Thus, 

Thr's  in     No.  of    Thr's  in     Thr's  on     No.  of 
warp.       sect's,     section.       spool.      spools. 

1800  -r-  4  =  450  -r-  40  =  lli  up,  in   dresser  frame:   or, 
1800  H-  5  =  360  -4-  40  =    9  spools  up.     In  this  figuring 
we  have  based  our  calculations  on  40  threads  to  a  spool,  as 
that  is  the  number  most  commonly  used. 

In  the  former  figuring  it  would  require  4  sections  of  450 
ends  each,  or  Hi  spools  up;  in  the  latter  figuring  it  would 
require  5  sections  of  360  ends  each,  or  9  spools  up.  This 
latter  result  being  the  more  preferable  of  the  two,  we  will 
therefore  base  our  figuring  on  5  sections  in  the  warp.  Now 
the  next  thing  necessary,  is 

TO   FIND   THE   NUMBER  OF  YARDS   REQUIRED   ON   EACH   SPOOL. 

Multiply  the  number  of  yards  calculated  for  a  warp  by 
the  number  of  sections;  the  result  obtained  will  be  the 
number  of  yards  required  on  each  spool  to  run  the  length 
of  that  warp.  Thus, 

Yd's  in  warp.    Sections.    Yd's  on  spool. 

440  X     5    =    2200;  add  a  little  for  loss  in  tying  up.  etc. 

The  above  calculations  are  for  straight  work  all  of  one 
color;  but  in  figuring  and  making  up  the  spools  for  a  warp 
of  different  colors, — like  the  sample  just  dissected — proceed 
as  follows:  Divide  the  number  of  threads  of  each  color,  by 
the  number  of  sections,  which  will  give  us  the  number  of 
threads  there  are  of  each  color  in  a  section;  this  quotient 
divided  by  40,  (the  number  of  threads  on  a  spool)  will  give 
us  the  number  of  spools,  or  parts  of  spools,  required  of  each 
color.  Thus: — 


TEXTILE   DESIGNING. 


37 


«ach  kind 

ch  kind. 

White 

1220  - 

-  5 

zr 

244      - 

-  40 

= 

6, 

4 

thr's  over. 

Black 

100  - 

-  5 

— 

20      - 

-  40 

= 

o, 

20 

threads. 

Olive 

440  - 

-  5 

= 

88      - 

-  40 

= 

2, 

8 

thr's  over. 

R.&B. 

D. 

&T. 

20  - 

-  5 

= 

4      - 

-40 

= 

o, 

4 

threads. 

R.&G 

D. 

&  T. 

20  - 

— 

4      - 

-40 

= 

o,' 

4 

threads. 

Totals,   1800  360  8     40     threads; 

or  1  spool  made  up  as  follows:  4  white,  20  black,  8  olive,  4 
red  and  blue  D.  &  T.,  4  red  and  green  D.  &  T.  This  spool 
added  to  the  6  spools  of  white,  and  2  of  olive,  will  give  us 
9  spools  in  all.  Now  we  are  ready  for 

THE   DRESSING   OR   WARPING. 

This  is  a  process  by  which  the  warp  yarns  are  arranged 
on  the  dresser  frame  into  patterns  and  sections,  before  be- 
ing wound  off  to  the  warp  or  loom  beam.  In  the  dressing, 
great  care  should  be  taken  to  have  the  patterns  properly 
arranged,  as  well  as  to  have  each  section  reeled  alike,  as 
regards  the  tention  on  the  dresser  reel.  Also  avoid  letting 
the  threads  run  loosely,  and  see  that  the  lease  is  correctly 
taken  up.  Make  sure  of  this  before  putting  in  the  lease 
rods.  Next  in  order  is, 

TO   FIND   THE   NUMBER   OF   HEDDLES   REQUIRED   ON   EACH 
HARNESS   WHEN   USING   A   CROSS   DRAFT. 

Take  each  harness  in  its  numeral  order,  and  count  the 
number  of  threads  drawn  on  it  in  one  pattern,  or  a  complete 
drawing-in  draft;  this  number  multiplied  by  the  number  of 
patterns  or  drafts  in  the  warp,  will  give  the  required  hed- 
dles  for  that  particular  harness.  In  this  manner  proceed 
with  each  harness.  See  1st  method  of  reducing — Plate  I. 

By  this  method,  we  find  that  it  requires  six  harnesses 
to  weave  the  pattern,  and  that  there  are  1 3  threads  drawn 
on  each  of  the  1st  and  2d  harnesses,  21  on  the  3d,  13  on  each 
of  the  4th  and  5th,  and  17  on  the  6th,  as  demonstrated  by 
the  following  table.  It  will  be  seen  that  in  making  out 
this  table,  we  commence  with  the  back  or  6th  harness,  and 
work  to  the  front  or  1st  harness.  The  object  of  this  is,  to 


THE   SELF-INSTRUCTOR, 


Harness  No. 


keep  the  harness  numbers  before  us  in  the  same  position  as 
the  harnesses  occupy  when  hung  up  for  the  drawer-in. 

Thrs.       Pats.  . 

has  17  X  20  = 
13  X  20  = 
13  X  20  = 
21  X  20  = 
13  x  20  = 
13  X  20  = 


340  heddles. 

260 

260 

420 

260 

260 


Threads  in  pattern  90  X  20  =  1800  heddles. 

See  2d  method  of  reducing — Plate  I.  By  this  method 
we  use  twelve  harnesses,  and  find  that  the  number  of  hed- 
dles required  on  each  is  as  follows: 


Thrs 

Pats. 

Harness  No.  12  has  6 

X 

20  = 

120  heddles. 

11 

6 

X 

20  = 

120 

10 

6 

X 

20  = 

120 

9 

6 

X 

20  = 

120 

8 

6 

X 

20  = 

120 

7 

6 

X 

20  = 

120 

6 

11 

X 

20  = 

220 

5 

7 

X 

20  = 

140 

4 

7 

X 

20  = 

140 

3 

15 

X 

20  = 

300 

2 

7 

X 

20  = 

140 

1 

7 

X 

20  = 

140 

Threads  in  pattern  90  X  20  =1800  heddles. 

See  3d  method  of  reducing — Plate  I.  In  this,  we  also 
use  twelve  harnesses,  and  find  that  the  number  of  heddles 
required  on  each,  is  as  follows: 

Thrs.       Pats. 


lo.  12  has  4 

X 

20 

— 

80  heddles. 

11 

4 

X 

20 

~ 

80 

10 

4 

X 

20 

— 

80 

9 

4 

X 

20 

— 

80 

8 

4 

X 

20 

— 

80 

7 

4 

X 

20 

— 

80 

6 

13 

X 

20 

— 

260 

5 

9 

X 

20 

= 

180 

4 

9 

X 

10 

— 

180 

(Continued  on  next  page.) 


TEXTILE   DESIGNING. 


39 


Harness  No. 


has  17  X  20  = 

"       9  X  20  = 
"       9  X  20  = 


340  heddles. 

180 

180 


Harness  No. 


Threads  in  pattern  90  X  20  =1800  heddles. 

See  4th  method  of  reducing — Plate  I.  By  this  method 
we  use  nine  harnesses,  and  find  that  the  number  of  heddles 
required  on  each  is  as  follows: 

Thrs.       Pats. 

has     6  X  20  = 
6  X  20  = 

6  X  20  = 
17  x  20  = 
13  X  20  = 
13  X  20  = 
15  x  20  = 

7  X  20  = 
7  X  20  = 


120  heddles. 

120 

120 

340 

260 

260 

300 

140 

140 


Threads  in  pattern  90  X  20  =1800  heddles. 

See  5th  method  of  reducing — Plate  I.  This  carries  us 
back  to  six  harnesses,  with  the  same  number  of  heddles  on 
each  as  used  in  the  first  method,  but  it  places  the  3d,  and  6th 
harness  in  the  position  of  the  1st  and  2d,  as  follows: 


Thrs 

Pats 

Harness  No.  6  has  13 

X 

20 

— 

260  heddles. 

5 

13 

X 

20 

— 

260 

4 

13 

X 

20 

— 

260 

3 

13 

x 

20 

— 

260 

2 

17 

X 

20 

= 

340 

1 

21 

X 

20 

= 

420 

Threads  in  pattern  90  X  20  =1800  heddles. 

To  make  out  a  regular  heddle  list  to  go  by  in  stringing 
up  a  set  of  harnesses,  cross  out  the  two  middle  columns  of 
figures  and  use  only  the  harness  and  heddle  columns.  An 
allowance  of  a  few  extra  heddles  ought  to  be  made  for 
broken  ones,  mistakes,  etc. 

Of  the  above  five  methods  of  reducing  and  drawing-in, 
it  may  be  well  to  state,  that  they  are  all  practicable,  and 
will  produce  the  same  result  in  weaving.  The  first  is  the 
original  one  and  generally  adopted,  but  we  will  endeavor  to 


40  THE  SELF-INSTRUCTOR, 

show,  that  it  is  not  always  policy  to  use  it.  In  the  present 
instance,  it  will  be  seen  that,  the  third  harness  has  to  oper- 
ate 420  threads,  the  sixth  340,  while  the  remaining  four  have 
each  260.  This  would  not  be  an  improper  division  with  fine 
and  well-sized  yarn;  but  with  the  yarn  coarsely  spun  from 
long  coarse  wool,  it  would  be  quite  difficult  to  produce  a 
clear,  open  shed  with  this  number  of  harnesses,  owing  to 
the  third  and  sixth  having  so  much  to  carry:  this  would 
cause  the  warp  to  cling  and  chafe,  thus  making  bad  work. 
But,  by  using  the  second  method  this  difficulty  would  be 
overcome,  as  will  be  seen  by  the  division  of  the  warp  on  six 
more  harnesses.  This  change  does  not  necessarily  make  it 
any  harder  for  the  weaver,  but  easier  on  the  yarn  and  loom. 

If  it  be  required  to  modify  the  work  as  much  as  pos- 
sible for  the  weaver's  benefit,  the  third  method  would  be 
the  one  to  adopt;  for  in  this  the  drawing- in  draft  is,  what 
might  be  called,  a  straight  draw,  except  where  the  basket 
figure  comes  in,  thus  making  it  much  easier  for  the  weaver 
to  keep  the  threads  in  right,  especially  when  mending 
large  break-outs.  Although,  in  this  case,  the  warp  is  not 
as  equally  divided  as  in  that  of  the  second  method,  yet,  of 
the  two,  all  things  considered,  it  is  more  preferable. 

The  fourth  method  is  somewhat  more  complicated  for 
the  weaver,  but  in  case  of  an  old  and  badly  worn  loom  that 
would  operate  all  right  nine  harnesses,  but  not  twelve:  or  in 
case  of  being  short  of  harnesses,  we  would  prefer  it  to  the 
first  method. 

The  fifth  method  is  the  most  complicated  of  the  five,  for 
both  the  drawer-in  and  weaver;  and,  on  the  other  hand,  is 
the  easiest  for  the  loom,  as  it  will  be  seen  that  the  harnesses 
carrying  the  most  warp  are  brought  to  the  front  of  loom. 
With  a  good,  fancy  weaver,  we  would  prefer  this  method 
to  all  the  others;  and  if  desired,  it  could  be  easily  carried 
to  twelve  harnesses  on  the  same  principle. 

We  might  illustrate  several  other  plans  for  weaving 
this  design  about  which  we  have  said  so  much:  but  believe 
the  above  are  sufficient  for  the  beginner  to  comprehend  our 
meaning.  However,  it  should  be  borne  in  mind,  when  lay- 


TEXTILE   DESIGNING.  41 

ing  out  for  cross  drafts,  that  the  harnesses  carrying  an 
extra  amount  of  warp  should  be  placed  in  front,  and  even 
then,  it  is  often  advisable  to  double  up  on  those  particular 
harnesses  if  on  no  others. 

Production  and  quality  are  the  two  great  points  to  aim 
at  in  running  a  weave  room.  These  results  are  more  easily 
accomplished  if  the  work  is  laid  out  to  the  best  advantage 
for  both  the  weaver  and  loom.  Therefore,  if  the  designer, 
or  overseer  of  weaving,  finds  that  he  can  simplify  a  cross 
draft  by  adding  on  harnesses,  he  ought  to  do  so  providing 
it  will  not  interfere  too  much  with  the  working  of  loom, 
which  is  often  aided  by  such  changes  as  much  and  some- 
times more  than  the  weaver. 


CHAPTER  VIII. 

ESTIMATING   THE   PER   CENT.  TO   ALLOW  FOR  LOSS   OF  STOCK 
DURING   THE    PROCESS   OF   MANUFACTURE. 

This  is  a  branch  of  designing  which  brings  into  display 
the  designer's  arithmetical  qualifications,  as  well  as  his 
judgment.  In  speaking  of  judgment,  in  this  connection, 
we  wish  it  to  be  borne  in  mind,  that  judgment  is  the  only 
basis  on  which  to  figure,  and  this  basis  must  be  estimated 
from  personal  observations.  There  is  a  wide  variation  in  the 
different  grades  of  stock,  in  working  with  different  mach- 
inery, in  different  mills,  and  under  different  circumstances; 
so  that  arbitrary  rules  in  relation  to  these  calculations  are 
of  little  or  no  use.  Hence,  the  convenience  of  minute 
records,  in  estimating  stock,  must  be  apparent. 

To  continue  the  work  before  us,  Ave  will  take  each  kind 
of  warp  yarn  figured  on  in  the  preceding  chapter,  and  esti- 
mate the  amount  of  wool  required  to  be  taken  to  the  picking 
room  for  each.  To  the  white  yarn,  we  will  add  2(K  for  the 


42  THE   SELF-INSTRUCTOR. 

loss  on  wool,  in  reaching  its  spun  state;  and  to  each  of  the 
colored  yarns,  we  will  add  25$  for  loss  before  reaching  the 
spun  state.  Now  the  question  arises,  what  amount  of  clean 
dry  wool  of  each  color  do  we  require  of  each  to  produce  the 
given  number  of  pounds  of  yarn? 

RULE   FOR   ADDING   PERCENTAGE. 

Divide  the  known  number  of  pounds,  by  100$  less  the 
per  cent,  to  be  added.  This  is  done  by  annexing  two  ciphers 
to  the  dividend,  and  dividing  as  though  the  divisor  were  a 
whole  number.  The  quotient  will  be  the  total  number  of 
pounds  required.  Thus, 

White  yarn  448  Ibs.,   to  which   we  wish  to    add    20$. 
Black  yarn    38  Ibs.    ] 
Olive    yarn  161  Ibs.     | 

Red      yarn      9  Ibs.    |-to   which   we  wish  to   add  25$. 
Blue     yarn      4£  Ibs. 
Green  yarn      44  Ibs.  J 

EXAMPLE. — 100$  less  20$  =  80$  for  a  divisor;  take  44S. 
the  pounds  known,  with  two  ciphers  annexed,  as  a  dividend: 
80)448.00(500  Ibs.  of  white  wool  required. 
448  00 

Again,  100$  less  25$  =  75$ 

as  a  divisor,  in  figuring  the  wool  for  the  remaining  yarns: 
75)38. 00(50|  Ibs.  black  wool. 

37  50  75)161.00(214|  Ibs.  olive  wool. 

160  50 


50 


50 
75)9.00(12  Ibs.  red  wool. 

9  00  75)4.50(6  Ibs.  blue  wool,  and 

4  50        6  Ibs.  green  wool. 


This  will  give  us  wool  lots,  as  follows: 
White  wool  560  Ibs. 

Black  wool    50|  Ibs.  (will  call  it  51  Ibs.) 
Olive    wool  214|  Ibs.  (will  call  it  215  Ibs.) 
Red      wool     12  Ibs. 
Blue     wool      6  Ibs. 
Green  wool      6  Ibs. 


Ibs.  or  say  850,  of  warp  wools  required 
to  make  2200  yards  of  warp,  as  previously  laid  out. 


TEXTILE   DESIGNING.  43 

For  the  filling  yarns,  we  have  previously  figured  on  382 
Ibs.  of  black,  and  382  Ibs.  of  drab;  to  each  of  which  we  will 
add  25^  for  the  loss  on  wool,  to  its  spun  state.  What 
amount  of  wool  do  we  require  for  each  kind  of  yarn? 

EXAMPLE.—  75)382,00(509^  Ibs.  black  wool,  and  509*  Ibs. 
375 

drab  wool,  or  say  510  of  each; 
700 
675  making  in  all,  1020  Ibs.  of  fill- 

25  ing  wool  required  to  fill  2200 

yards  of  warp.     This  will  give  us,  as  follows: 

I,bs.  warp  wool.     Lbs.  filling  wool. 

850  -f  1020  =  1870  Ibs.  of  clean  wool,  in  all,  to  pro- 
duce 2000  yards  of  finished  goods;  weight,  !',%  oz.  per  yard. 

To  find  the  number  of  ounces  of  clean  wool  per  yard, 
multiply  1870  by  10  (ounces  per  pound),  and  divide  the  pro- 
duct by  2000;  the  quotient  will  be  the  ounces  per  yard. 

1S70  X  16  =  29,920  -h  2000  =  14-ftV  oz.  of  clean  wool 
required  to  produce  one  yard  of  the  finished  goods,  reckon- 
ing on  an  average,  a  loss  of  23^^  in  the  wool  for  picking, 
carding  and  spinning;  and  10#  loss  in  the  yarn  for  spooling, 
dressing,  weaving  and  finishing:  In  all,  33 ,%*,-,  per  cent. 

The  goods,  for  which  we  have  been  figuring, — sample 
No.  1. — weighed  when  finished,  just  9,4(1  oz.  per  yard; 
being  ^  oz.  less  than  estimated  in  the  above  calculations, 
which  would  have  made  the  goods  finish  0,y0  oz.  per  yard. 
Therefore,  considering  that  in  all  the  preceding  figuring  for 
both  the  yarn  and  wool,  we  reckoned  each  fraction  as  a 
whole  pound,  and  that  our  figuring  has  been  done  on  the 
basis  of  judgment,  and  not  from  records  obtained  in  mak- 
ing the  fabric;  it  will  be  conceded  that  these  estimates  have 
come  out  very  close,  under  the  circumstances.  Then  too, 
if  these  estimates  had  been  put  into  actual  work,  we  might 
have  had  a  little  of  the  warp  or  filling,  or  both,  left  over. 
Again,  the  yarn  might  have  been  spun  on  the  light  side  of 
what  was  calculated.  An}-  one  of  these  causes,  say  nothing 
of  taking  them  all  together,  would  have  caused  this  small 
fraction  of  difference. 


44  THE   SELF-INSTRUCTOR, 

Above  we  spoke  of  the  average  loss  being  23-$^;  it 
may  be  well  for  us.  before  proceeding  any  further,  to  dem- 
onstrate how  it  was  obtained. 

To  665  Ibs.  of  warp  yarn  were  added  185  Ibs.  to  find  the 
number  of  pounds  of  wool:  and  in  the  same  way,  to  the  764 
Ibs.  of  filling  yarn  were  added  '256  Ibs.  to  find  the  number 
of  pounds  of  wool.  Now  find  the  sum  of  the  amounts 
added:  185+256=441;  annex  two  ciphers  and  divide  by  the 
sum  of  the  whole  number  of  pounds  of  wool  required  for 
both  warp  and  filling.  850+1020=1870. 

1870)441.00(23^0  Ibs.,  the  average  weight  added  to  each 
3740 

Ibs.   of    yarn,   which   equals 


6700 

56  10  100  Ibs.  of  wool  to  produce  the  same. 


10  90  remainder,  this  is  equal  to  the  above  fraction 
and  a  little  over,  but  not  sufficient  to  take  into  account. 
This  method  of  finding  the  average  per  cent,  holds  good  in 
figuring  on  any  number  of  different  percentages. 

Before  closing  this  chapter,  we  wish  to  remind  the 
reader  that  this  percentage  of  loss  must  not  be  considered  as 
so  much  stock  lost  to  the  manufacturer,  for  only  a  part  of  it. 
or  such  as  consists  of  foreign  matters  in  the  wool,  can  be  so 
taken.  The  waste  made  in  every  department,  from  the 
wool  room  to  the  goods  in  the  case,  can  be  again  worked 
over  into  other  goods;  if  not  in  the  mill  where  made,  then 
in  some  other  mill  that  will  pay  cash  for  it. 

Weight  added  to  stock  by  oiling,  we  do  not  take  into 
consideration. 


TEXTILE   DESIGNING.  45 


CHAPTER  IX. 

ESTIMATING   THE   PER   CENT.    OF   COLORS   IN   MIXES, 
AND   OF   DIFFERENT   WOOLS   IN   BATCHES. 

In  order  to  demonstrate  this  subject  in  a  practical  man- 
ner, we  will  suppose  that  we  are  required  to  get  up  a  batch 
of  960  Ibs.  of  wool,  to  be  composed  of  70$  black,  20^  white, 
and  10$  orange.  What  is  the  amount  of  each  color  required 
to  produce  the  batch  of  960  pounds? 

TO  FIND  THE  AMOUNT  OF   EACH   COLOR   REQUIRED   IN  A  BATCH, 
THE    SIZE    OF   BATCH   AND   PER   CENT.    BEING   KNOWN. 

Multiply  the  whole  number  of  pounds  in  batch,  by  the 
per  cent,  of  each  color,  and  point  off  two  figures  at  the 
right;  the  product  will  be  the  amount  required  of  that  par- 
ticular color.  Thus, 

960  960  960 

.70  black.  .20  white.  .10  orange. 


672.00  192.00  96.00 

This  will  give  us  wool  as  follows: 
Black     672  Ibs. 
White    192  Ibs. 
Orange    96  Ibs. 

Total,     960  Ibs. 

Again,  suppose  we  went  into  the  wool  room  and  made 
up  a  batch,  as  follows: 

Oregon      230  Ibs.  )      ... 
S.  pulled     20  Ibs. 


Oregon  70  Ibs. 
Pa,  fleece  65  Ibs. 
Ohio  "  65  Ibs. 
Va.  "  50  Ibs. 


olive, 
plum. 


Total,  500  Ibs.  in  the  lot.  What  is  the  per  cent,  of 
each  color?  Also,  what  is  the  per  cent,  of  each  kind  of 
wool?  Proceed  in  the  following  manner: 


4C  THE   SELF-INSTRUCTOR, 

Annex  two  ciphers  to  the  whole  number  of  pounds  of 
each  color,  or  kind  of  wool,  and  divide  by  the  whole  sum. 

230  -f-  20  =  250  Ibs.  white;  annex  two  ciphers:    250.00. 

250.00  -T-  500  =  50$  white. 

70  -|-  65  -f  65  =  200  Ibs.  olive;  annex  two  ciphers:  200.00. 

200.00  -r-  500  =  40$  olive. 

50  Ibs.  plum;  annex  two  ciphers:  50.00  -=-  500  =  10$  plum. 
This  gives  us  the  per  cent,  of  each  color.  Now  we  will 
find  the  per  cent,  of  each  kind  of  wool. 

230  -|-  70  =  300  Ibs.  Oregon;  annex  two  ciphers:  300. oo. 

300.00  4-  500  =  60$  Oregon  wool. 

20  Ibs.  S.  pulled;  annex  two  ciphers:  20.00  -7-  500  =  4$ 
super  pulled  wool. 

(55  Ibs.  Pa.  fleece;  annex  two  ciphers:  65.00  -7-  500  =  13$ 
Pennsylvania  fleece  wool. 

65  Ibs.  O.  fleece;  annex  two  ciphers:  65.00  -7-  500  =  13$ 
Ohio  fleece  wool. 

50  Ibs.  Va.  fleece;  annex  two  ciphers-.  50.00  -r-  500  =  10$ 
Virginia  fleece  wool. 

By  the  above  figures,  it  will  be  seen  that  this  rule  works 
the  same,  whether  figuring  the  per  cent,  of  colors,  or  the 
qualities  of  stock. 

Again,  suppose  we  have  770  Ibs.  of  fleece  wool,  to  which 
we  wish  to  add  30$  of  shoddy.  What  will  be  the  amount  of 
shoddy  required? 

Figure  this  as  demonstrated  in  the  preceding  chapter: 
100  —  30  =  70  for  the  divisor. 

70)770.00(1100  Ibs.,  total  weight;    from  which  subtract 
77000  lioo 

the  pounds  known    770 

330  Ibs.,  amount  of 
shoddy  required. 

On  the  other  hand,  if  we  had  330  Ibs.  of  shoddy  to  which 
we  wish  to  add  70$  of  fleece  wool,  it  would  require  770  Ibs. 
of  wool,  making  a  total  of  1100  Ibs.,  shoddy  and  wool. 

We  believe  the  illustrations  given  under  this  head,  are 
sufficient  for  the  reader  to  comprehend  our  meaning,  and 
will  therefore  bring  the  chapter  to  a  close. 


TEXTILE   DESIGNING.  4? 


CHAPTER  X. 

FIGURING   THE   SHRINKAGE   OF   WOOLS,    AND   THEIR 
COST   WHEN   SCOURED. 

For  the  purpose  of  demonstrating  the  work  under  this 
head,  we  will  suppose  that  we  have  a  lot  of  unsecured  fleece 
wool,  the  shrinkage  of  which  is  not  known,  but  must  be 
obtained  in  order  to  know  the  cost  when  clean. 

TO  FIND  THE  SHRINKAGE  OF  UNSCOURED  WOOL. 

From  the  pounds  taken  in  the  grease,  subtract  the 
pounds  of  clean  wool  got  back  after  scouring  and  drying, 
and  divide  the  remaining  pounds,  with  two  ciphers  annexed, 
by  the  pounds  taken  for  a  trial;  the  quotient  will  be  the 
rate  per  cent,  of  shrinkage. 

EXAMPLE. — Had  scoured,  500  Ibs.  in  the  grease. 
Got  back,  300  Ibs.  of  clean  wool. 

Lost,  200  Ibs.  in  scouring,  to  which 
annex  two  ciphers,  and  divide  by  500  Ibs. 
500)200.00(40$,  rate  of  shrinkage,  or  40  Ibs.   lost  for  each 
200  00 

100  Ibs.     100 — 40=60  Ibs.  of  clean  wool  from 
each  100  Ibs.  in  the  grease. 

This  wool,  we  will  suppose,  cost  35  cents  per  pound,  in 
the  grease.  What  is  its  cost  in  the  scoured  state? 

TO   FIND   THE   COST   OF   SCOURED   WOOL,    THE   MARKET 
.      PRICE    AND   SHRINKAGE   BEING   KNOWN. 

Divide  the  market  price,  with  two  ciphers  annexed,  by 
the  pounds  of  clean  wool  obtained  from  100  Ibs.  in  the 
grease;  the  quotient  will  be  the  cost  per  pound  of  clean  wool. 


48  •     THE   SELF-INSTRUCTOR, 

EXAMPLE. — Market  price,  35  cents  per  pound;  wool 
shrunk  40$  in  scouring,  leaving  GO  Ibs.  of  clean  wool  from 
100  Ibs.  in  the  grease: 

60)35.00  market  price. 

58i  cents  per  pound,  cost  of  the  clean  wool. 

The  reader  should  bear  in  mind,  that  the  above  figuring 
does  not  include  the  cost  of  freight,  cartage,  sorting,  and 
scouring;  all  of  which  adds  to  the  actual  cost  of  scoured 
wools,  the  extent  depending  on  circumstances. 

Again,  suppose  we  wish  to  add  to  the  300  Ibs.  of  clean 
fleece — which  we  obtained  from  500  Ibs.  in  the  grease,  being 
40$  shrinkage,— the  same  amount  of  clean  second-grade 
fleece,  which  we  had  previously  found,  shrunk  45  per  cent. 
How  many  pounds  of  the  second-grade  fleece,  will  it  be 
necessary  to  secure  for  the  300  Ibs.  of  clean  wool? 

TO    FIND    THE   AMOUNT   OF   WOOL    REQUIRED    IX    THE    GREASE 

TO   PRODUCE   A   GIVEN   AMOUNT   CLEAN,    THE 

SHRINKAGE   BEING   KNOWN. 

Divide  the  pounds  of  clean  wool  wanted,  with  two 
ciphers  annexed,  by  the  pounds  of  clean  wool  obtained  from 
100  Ibs.  in  the  grease  to  secure;  the  quotient  will  be  the 
pounds  required  in  the  grease. 

EXAMPLE. — The  second-grade  fleece  shrinks  45??,  which 
gives  us  55  Ibs.  of  clean  wool  for  each  100  Ibs.  in  the  grease, 
and  300  Ibs.  of  clean  wool  are  wanted: 

55)300.00  pounds  wanted. 

545^  Ibs.  required  in  the  grease,  at  45$  shrinkage, 
to  produce  300  Ibs.  clean  wool.  The  reverse  of  this  rule 
will  also  hold  true. 

We  believe  this,  with  the  two  preceding  chapters,  is 
sufficient  for  the  beginner  to  understand  how  to  figure  per- 
centage from  any  standpoint;  and  we  trust  that  they  will 
show  him  the  necessity  of  thoroughly  understanding  this 
branch  of  the  business. 


TEXTILE   DESIGNING.  49 


CHAPTER  XI. 

DRESSING    PATTERN    WARPS    AND   WEAVING    PATTERN    SHEETS. 

Nearly  every  woolen  mill,  and  nearly  every  designer 
have  their  own  particular  method  of  performing  this  piece 
of  work  for  the  loom,  any  one  of  which  may  prove  satsi- 
factory  to  the  designer  under  the  circumstances  surround- 
ing him;  hence  we  shall  not  attempt  to  lay  down  any  new 
methods,  but  simply  give  a  few  suggestions  applicable  un- 
der certain  conditions. 

We  always  make  it  a  point  to  dress  a  pattern  warp  on 
the  dresser  frame,  if  convenient  to  do  so:  this  spreads  the 
threads  much  evener,  when  reeling  off  to  the  warp  beam; 
gives  an  evener  tension,  and  does  away  with  watching  the 
lease  and  patterns  so  closely,  when  once  rightly  started: 
besides,  the  work  is  then  in  a  position  for  any  length  of 
warp  required.  If  only  five  or  six  pattern  stripes  are  want- 
ed, make  each  one  a  section  in  itself;  but  if  several  other 
stripes  are  wanted,  two  of  these  pattern  stripes  may  be  run 
in  as  one  section. 

Between  each  pattern  stripe,  run  in  two  threads  of  a 
fancy  or  different  color,  not  too  bold,  or  too  faint,  but  such 
as  will  make  sufficient  contrast  and  look  well  with  the  col- 
ors with  which  they  are  to  come  in  contact.  Hence,  it  will 
be  seen,  that  it  is  not  always  policy  to  use  the  same  color  for 
the  dividing  lines,  as  other  colors  in  the  same  warp  may  be 
often  brought  into  use,  for  this  purpose,  with  a  decided  and 
pleasing  effect. 

Again,  when  only  a  few  small  changes  are  desired  from 
that  of  a  regular  warp,  a  good  pattern  sheet  may  be  gotten 
up  by  breaking  out  a  few  threads  and  tying  other  colors  in 
their  place  on  the  first  end  of  warp,  when  being  started  in 

7 


50  THE   SELF-INSTRUCTOR, 

the  loom,  or  on  the  latter  end  when  running  out.  A  yard 
or  more  can  be  finished  on  the  end  of  a  regular  cut,  and 
thus  save  the  expense  of  getting  out  a  special  pattern  warp. 
Of  course,  to  produce  a  pattern  sheet  in  this  manner,  the 
number  of  harnesses  in  the  loom,  and  style  of  drawing-in 
must  correspond  with  the  designer's  ideas;  but  a  change  in 
the  weave  may  be  made  if  necessary. 

Then  again,  when  but  a  few  changes  are  desired  from 
any  one  particular  style,  either  in  certain  warp  threads,  or 
in  the  filling,  it  is  good  policy  to  weave  sufficient  of  each 
change  to  make  a  pants'  pattern.  We  have  woven  whole 
cuts  in  this  manner,  when  only  slight  changes  were  wanted. 
These  styles  are  cut  apart  after  finishing,  and  will  gener- 
ally sell  without  causing  any  material  loss  to  the  manufact- 
urer. When  making  patterns  in  this  way,  no  change  should 
be  made  in  the  weave;  and  the  filling  should  be  of  the  same 
size  of  yarn  and  kind  of  stock,  to  insure  the  same  finish  on 
each  style,  and  not  cause  too  much  unevenness  in  the  piece. 
These  suggestions  or  methods,  are  calculated  for  use  more 
especially  in  mills  not  having  a  pattern  loom,  or  ample 
facilities  for  getting  out  regular  pattern  sheets. 

Large  mills  usually  have  ample  facilities  in  the  pattern 
department,  which  is  fitted  up  to  their  own  liking:  and  each 
designer,  in  his  turn,  has  to  follow  the  same  course  as  his 
predecessor,  so  that  to  make  any  suggestions,  relative  to 
them,  would  be  of  no  material  use.  Suffice  it  to  say,  that 
they  all,  generally  speaking,  have  to  dress  their  pattern 
warps  on  the  peg  or  "pin"  system.  With  this  system,  some 
use  one  style  of  frame  for  holding  the  bobbins  of  yarn,  and 
some  another;  each  one  of  which  is  thought  to  be  good 
enough  for  its  particular  place.  Therefore,  comments,  or 
suggestions  on  them,  would  be  out  of  place  here.  We  will, 
however,  continue  the  subject  by  calling  the  reader's  atten- 
tion to  our  method  of  weaving  a  pattern  sheet. 

We  have  before  us,  a  pattern  sheet  which  we  will  en- 
deavor to  illustrate  in  such  a  manner  that  our  idea  on  this 
subject  will  be  fully  understood.  This  sheet  was  woven 
with  the  regular  eight-harness  twill,  and  consists  of  a  series 


TEXTILE   DESIGNING.  51 

of  patterns  made  in  mixes,  solid  colors,  stripes,  and  plaids. 
To  begin  with,  it  has  five  sections,  or  in  other  words,  five 
pattern  stripes  as  follows: 

H    1st     |    2d      I    3d      i    4th    I    5th    E| 
H  sect,    i  sect.    I  sect.   J  sect.    1  sect,  pj 

The  finished  width  of  each  section  is  5^  inches;  making 
in  all,  27 i  inches  inside  of  the  selvage.  Each  section  con- 
tains 240  threads  of  2-run  yarn;  this  gives  us,  in  five  sec- 
tions, 1200  threads  independent  of  the  dividing  threads,  or 
selvage. 

The  yarns  which  compose  the  sections  in  this  pattern 
sheet,  were  spun  from  mixes  as  follows: 

First  section,  No.  10  mix;  50$  black,  and  50  dark  olive. 
(We  always  give  our  mixes  a  distinguishing  number.) 

Second  section,  No.  11  mix;  50^  red  brown,  and  50  white. 

Third  section,  No.  8  mix;    85^  black,   and   15  orange. 

Fourth  section,  No.  14  mix;  45£  red  brown,  45  white, 
and  10  orange. 

Fifth  section,  No.  13  mix;  45^  black,  45  olive,  and  10 
white. 

Between  each  pattern  stripe  or  section,  and  also  between 
the  outside  ones  and  selvage,  are  two  dividing  threads,  one 
of  red  and  green  D.  &  T.,  and  one  of  orange  and  black  D. 
&  T.  This  completes  the  full  construction  of  the  warp. 

The  weaving  of  the  pattern  sheet  is  the  next  in  order. 
For  this  purpose,  we  have  five  kinds  of  mixes  for  the  filling, 
the  same  as  used  in  the  warp.  After  weaving  in  a  fancy 
heading,  we  commence  with  the  first  or  left-hand  section, 
using  filling  of  No.  10  mix,  and  weave  in  sufficient  to  bring 
the  pattern  or  sample  out  square  when  finished;  or  as  near 
that  as  we  can  calculate.  Now  we  weave  in  two  dividing 
threads,  the  same  as  in  warp;  this  gives  us  the  first  regular 
pattern.  Next  we  use  filling  of  No.  11  mix,  which  corres- 
ponds with  the  second  section,  and  weave  the  same  amount 
as  before;  this  gives  us  the  second  regular  pattern.  In  this 
manner  we  proceed  with  the  third,  fourth  and  fifth  sections, 
using  filling  to  correspond  with  the  mixes  in  those  sections. 


52  THE   SELF-INSTRUCTOR, 

This  will  give  us  the  third,  fourth,  and  fifth  regular  pat- 
terns. We  have  now  taken  up  each  section  in  turn,  and 
worked  the  whole  width  of  the  warp,  making  in  all,  twenty- 
five  patterns,  as  herewith  demonstrated. 


<?*-o 


-  i 

5 

| 

5th  filling 
No.  13  mix. 

4th  filling 
No.  14  mix. 

3d  filling 
No.  8  mix. 

2d  filling 
No.  11  mix. 

1st  filling 
No.  10  mix. 

I 

4 

\ 

3 

1 

2 

i      1 

From  this  illustration,  it  will  be  seen  that  patterns  1,  2, 
3,  4,  and  5,  are  called  "regulars;"  that  is,  each  one  by  itself 
is  the  same  in  both  warp  and  filling.  The  remaining  twenty 
patterns  are  called  "irregulars,"  or,  "hit-or-miss." — Some- 
times, called  "bastards."  It  is  in  this  irregular  class  of 
samples,  that  the  designer  often  finds  his  most  attractive 
and  best  selling  patterns. 

Presuming  that  the  warp  was  four  yards  in  length,  and 
having  used  only  about  30  inches,  or  say  one-fourth,  of  its 
weaving  capacity  in  making  the  first  series  of  patterns,  we 
will  now  use  five  other  kinds  of  filling,  say  of  solid  colors, 
and  work  off  another  series  of  twenty -five  patterns  on  the 
same  principle  as  before.  Now  we  will  break  out  a  few  of 
the  warp  threads  in  any  one  section,  or  all  of  them,  as  de- 
sired, and  tie  other  colors  in  their  place;  this  changes  the 


TEXTILE   DESIGNING,  53 

plain  work  into  stripes,  with  which  we  will  use  the  first  set 
of  rilling  and  weave  another  series  of  twenty-five  patterns. 
Again,  taking  the  second  set  of  filling,  we  will  weave  the 
fourth  and  last  series  of  patterns  by  running  in,  with  each 
kind  of  filling,  such  threads  as  were  previously  tied  in  the 
warp,  and  in  the  same  proportion,  which  gives  us  twenty- 
five  plaid  patterns;  making  in  all,  one  hundred  patterns  in 
the  whole  pattern  sheet.  From  this  it  will  be  seen,  that 
there  is  no  end,  so  to  speak,  to  the  number  of  patterns  and 
changes  that  may  be  produced  by  following  up  this  princi- 
ple of  pattern  weaving. 

On  fancy  warps,  figured  weaving,  and  cross-drawiiig-in 
drafts,  it  will  sometimes  occur  that  only  a  limited  number 
of  changes  can  be  advantageously  made.  It  is  in  such  in- 
stances that  the  designer  needs  to  bring  into  play  his  best 
skill,  instead  of  working  on  the  ''go-as-you-please"  system. 

The  designer  must  use  his  own  judgment,  as  regards 
the  size  to  weave  his  samples.  If  he  is  to  get  out  a  sheet  of 
fine,  plain,  and  firmly  woven  samples,  small  ones  will  usu- 
ally answer  every  purpose.  On  the  other  hand,  if  he  is  to 
get  out  a  sheet  of  large  patterns,  in  the  weaving,  or  dress- 
ing, large  samples  are  preferable. 

We  have  made  pattern  sheets  that  contained  as  low  as 
three  and  as  high  as  nine  samples  in  width;  but  the  usual 
number  is  five,  six,  or  seven,  which  makes  a  fair  size 
sample  without  much  expense. 

Our  practice  has  been  invariably,  to  make  these  sheets 
wide  enough  to  finish  three-fourths  in  width;  this  gives  us 
a  good  basis  on  which  to  figure  the  weight  of  the  goods, 
shrinkage,  etc. — far  better  than  if  made  narrower. 

Speaking  about  figuring  on  the  weight  of  goods,  it  may 
be  well  to  demonstrate  here  the  manner  of 

FIGURING   ON   THE    WEIGHT   OP   CLOTH   BEFORE   WEAVING. 

Divide  the  number  of  ends  in  warp,  by  the  number  of 
runs  the  yarn  is  spun,  and  point  off  decimally  two  figures  at 
the  right  of  quotient;  this  quotient  will  then  represent  the. 
number  of  ounces  of  warp  in  one  yard  of  cloth. 


54  THE  SELF-INSTRUCTOR, 

EXAMPLE. — Suppose  that  we  have  a  warp  of  2160  ends 
of  4-run  yarn,  and  20  threads  of  selvage  on  each  side,  or  40 
in  all,  of  2-run  yarn;  how  many  ounces  have  we  of  warp? 

Runs,  4)2160  ends.  Runs,  2)40  selvage  threads. 

5.40  oz.  of  warp.  .20  oz.  of  selvage. 

Add  together  these  quotients,  5.40  -+-  .20  =  5.60  oz.  the  total 
weight  of  warp  to  one  yard  of  cloth. 

To  ascertain  the  amount  of  filling,  proceed  as  follows: 

Multiply  the  number  o^picks  per  inch,  by  the  number 
of  inches  the  warp  is  laid  in  the  reed;  this  product  divided 
by  the  number  of  runs  the  yarn  is  spun,  with  two  figures 
pointed  off  decimally  at  the  right  of  quotient,  will  give  the 
number  of  ounces  of  filling  to  one  yard  of  cloth. 

EXAMPLE. — Suppose  that  we  put  in  75  picks  per  inch, 
of  5-run  yarn,  and  the  full  width  in  reed  is  40  inches;  how 
many  ounces  have  we  to  one  yard  of  cloth? 

75  x  40  =  3000  -f-  5  =  6.00  oz.  weight  of  filling  to  one 
yard  of  cloth.  This,  added  to  the  warp,  gives  5.60  -|-  6.00  — 
11.60  oz.,  or  near  enough,— allowing  for  the  "take-up,"  of 
yarn  in  weaving — to  call  it  12  oz.  weight  of  cloth  from  loom. 

The  above  manner  of  figuring  on  the  weight  of  goods 
previous  to  weaving,  will  give  a  good  basis  on  which  to 
make  other  calculation,  if  followed  out  closely.  Of  course, 
practical  judgment  is  required,  in  order  to  estimate  closely 
what  allowance  to  make  for  the  "take-up,"  which  must  be 
governed  by  the  kind  of  weave  used,  size  of  yarns,  and  the 
strain  on  warp.  Then  again,  the  yarn  must  be  accurately 
spun  to  the  size  figured  on;  if  spun  either  too  coarse,  or  too 
fine,  the  result  of  the  figuring  will  vary  accordingly;  while 
if  too  many  picks  are  put  in,  or  not  a  sfficient  number,  the 
result  will  also  be  too  large,  or  too  small — as  the  case 
may  be. 


TEXTILE   DESIGNING.  55 


CHAPTER  XII. 

THREE  METHODS  OF  ATTACHING  A  BACK  TO  FABRICS. 

The  designer  is  often  called  on  to  produce  light-weight 
fabrics  in  heavy  weight.  To  do  this,  without  changing  the 
appearance  of  the  face  of  the  fabric,  is  an  undertaking  of 
no  small  importance;  however,  it  can  be  done  by  attaching 
a  back.  This  back  may  be  attached  by  the  filling,  warp,  or 
by  both  the  warp  and  filling  methods.  One  of  the  principal 
points  to  observe,  in  this  operation,  is  to  have  the  binding 
done  in  such  a  manner  that  the  effect  will  not  be  noticed  on 
the  face  of  the  fabric  when  finished. 

In  the  manufacture  of  worsted  fabrics,  this  fact  has  an 
especial  bearing  for  the  .reason  that  imperfections,  in  the 
stitching  or  uniting  of  the  textures,  will  show  more  in  this 
class  of  goods,  than  in  common  woolens,  and  fancy  cassi- 
meres.  This  is  owing  to  the  fact  that  worsteds  are  mostly 
made  in  the  loom,  or  in  other  words,  are  woven  narrower, 
and  require  but  little  or  no  felting.  On  the  other  hand, 
common  woolens,  and  fancy  cassimeres,  are  woven  much 
wider,  requiring  considerable  fulling,  which  has  a  tendency 
to  cover  up  a  great  many  defects  that  would  otherwise  be 
seen,  especially  in  worsteds. 

There  are  three  methods  of  attaching  a  back  to  fabrics, 
which  we  will  illustrate;  any  one  of  which  will  answer  for 
its  particular  purpose. 

First  method. — This  is  what  is  called  a  filling  back; 
that  is,  the  warp  works  single,  and  the  filling  works  double 
—one  thread  on  the  face  of  the  fabric,  and  one  on  the  back. 


5(i  THE   SELF-INSTRUCTOR, 

To  illustrate  this  method,  we  will  take  Fig.  1,  which  is 
known  as  the  four-harness  cassimere  twill,  carried  out  to 
eight  threads  both  warp  and  filling  ways,  or  in  other  words. 
eight  harnesses  and  eight  bars  of  chain,  as  numbered  at  the 
FIG.  1.  FIG.  2. 

•  •        ••  1  =»•••••  2 

-    •  •       •  •     »  •:•••••••  4 

mm  :  MM'i.'^  5  ''mmammm   m  6 


7 
mm  9  a  •  na    an  •  - 

^•BBBBBB     !- 


Sjgnig™ 

bottom  and  left-hand  side.     To  this  weave  we  will  attach 
Fig.  2,  which  is  called  an  eight-harness  doeskin  weave. 

Now,  if  we  take  Figs.  1  and  2,  and  unite  them — one  bar 
of  each,  alternately — it  will  give  us  a  weave  of  eight  har- 
nesses and  sixteen  bars.  Hence,  we  will  number  the  bars 
at  the  right  of  each  weave  or  figure,  in  the  order  in  which 
they  will  appear  when  united. 

FIG.  3.  FIG.  4.  FIG.  5. 

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mmnmmmmmu          mm  mmmmmn 
•nuBMnnBio  MDn««::ir:Mi5 

mmmmm  mm^  laaaa  •• 

Fig.  3,  shows  the  face  weave  laid  out  in  its  order  for 
receiving  the  back. 

Fig.  4,  shows  the  back  weave  laid  out  in  its  order  for 
receiving  the  face. 

Fig.  5,  illustrates  Figs.  3  and  4  united,  making  one 
complete  weave,  ready  for  the  loom.  —  See  Sample  ATo.  #, 
made  from  this  same  weave. 

The  main  point  to  overcome,  when  attaching  a  filling 
back,  is  not  to  affect  the  appearance  of  the  face  of  the 
fabric.  To  avoid  this,  the  binding  must  be  done  in  such  a 
manner  that  the  warp  threads  will  all  have  the  same  ten- 
sion. This  is  accomplished  by  placing  the  backing  weave 
in  a  position,  that  whenever,  or  wherever  a  back  pick  has 


TEXTILE   DESIGNING.  57 

a  sinker,  it  should  be  preceded  and  followed  by  a  sinker  on 
the  face  threads,  which  will  give  us  three  sinkers  in  succes- 
sion, reading  the  warp  way.  This  will  bring  the  binding  in 
between  the  twills  alternately,  as  will  be  seen  by  referring 
to  Fig.  5.  However,  there  are  weaves  with  which  it  would 
be  impossible  to  follow  this  rule  closely:  Sometimes  a  back 
pick  may  have  to  be  preceded  by  a  sinker  and  followed  by 
a  riser,  or  vice  versa;  but  in  no  case  should  it  be  preceded 
and  followed  by  a  riser  on  the  face  threads. 

Second  method. — This  is  what  is  called  a  warp  back,  and 
is  woven  in  a  reverse  manner  to  that  of  the  filling  method; 
that  is,  the  warp  works  double  and  the  filling  single.  To 
illustrate  this,  we  will  take  the  same  four-harness  cassimere 
weave,  Fig.  1,  to  which  we  will  attach  a  back,  one  and  one; 
that  is,  one  thread  on  the  face  and  one  on  the  back,  alter- 
nately. For  the  backing  weave,  we  will  take  an  eight-har- 
ness satin,  Fig.  6, — as  it  proves  to  be  well  adapted  in  this 
instance,  for  even  stitching.  Again,  we  will  attach  a  four- 
harness  satin  twill  repeated  to  eight  harnesses  and  eight 
bars.  At  the  bottom  of  the  face  and  both  back  weaves,  we 
have  numbered  the  harnesses  in  their  numeral  order;  also 
a  second  time  in  the  order  in  which  they  will  appear  when 
united  or  stitched  together. 

FIG.  1.  FIG.  6.  FIG.  7. 

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•881159! 

Hence  it  will  be  seen,  that  in  attaching  a  warp  back, 
the  number  of  harnesses  have  to  be  increased,  while  the 
number  of  bars  remain  the  same — being  just  the  reverse  of 
the  former  method.  Proceeding  in  this  manner,  we  will 
carry  out  these  weaves  (Figs.  1,  6  and  7),  in  their  respective 
order  for  uniting,  which  will  give  us  Figs.  8,  9  and  10. 

Next  in  order,  is  the  uniting  of  Figs.  8  and  9.  To  do 
this,  we  will  take  the  working  of  a  harness  from  each  fig- 
ure alternately,  and  setting  them  down  in  their  numeral 


58  THE  SELF-INSTRUCTOR, 

order,  it  will  give  us  Fig.  11. — See  Sample  No.  3,  made  from 
this  weave.  In  a  similar  manner,  proceed  with  Figs.  8  and 
10,  the  result  will  be  as  shown  by  Fig.  12. 

FIG.  8.  FIG.  9.  FIG.  10. 

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M_Z~:;::BHM  :      "/:•::  •Z±"::JI;BBM-  :          •• 

_  ,-  --      -,—  ^j^.-^npr:  —  —  —  —  t-  -•  .^  -, j  x  —  H—  ""X"  — 

It  will  be  observed,  by  examining  those  figures,  that 
wherever  the  backing  threads  rise,  they  come  up  in  between 
two  risers  of  the  face  threads;  that  is,  one  face  thread  is  up 
on  the  right,  and  one  up  on  the  left — reading  the  filling  way. 
This  point  should  be  observed,  if  possible,  w-hen  attaching 
a  warp  back.  There  are  instances,  however,  where  this 
rule  cannot  be  adhered  to,  in  which  case  we  must  do  the 
next  best  thing: — have  a  face  riser  on  one  side  of  the  back- 
ing riser,  and  a  sinker  on  the  other  side.  In  no  case  should 
a  backing  thread  be  raised  to  the  face  of  the  fabric,  where 
there  would  be  no  riser  on  either  side  to  join  it. 

The  next  thing  which  we  will  call  the  reader's  attention 
to  is,  that  when  required  to  unite  two  weaves,  each  con- 
taining a  different  number  of  harnesses,  or  bars,  or  both, 
they  must  be  carried  out  to  that  point  where  both  weaves 
will  repeat  at  the  same  time.  This  can  be  seen  in  the  case 
of  Fig.  11;  the  cassimere  weave  being,  originally,  but  four 
harnesses  in  width  by  four  bars  in  length;  and  the  satin 
eight  harnesses  in  width  by  eight  bars  in  length;  in  order 
to  have  both  weaves  repeat  at  the  same  point,  the  cassimere 
had  to  be  carried  out  to  its  present  size.  But  in  the  case  of 
Fig.  12,  the  backing  weave  being  the  four-harness  satin 
twill  (Fig.  7),  it  will  be  readily  seen,  that  both  the  face  and 
back  weaves  have  been  doubled  each  way,  or  in  other  words, 


TEXTILE  DESIGNING, 


repeated  to  four  times  their  original  size,  as  four  harnesses 
and  four  bars  complete  the  full  weave  of  either.  We  have 
carried  these  weaves  out  to  their  present  size  for  the  pur- 
pose of  presenting  a  better  illustration;  besides,  eight  bars 
of  chain  are  necessary  to  reach  around  the  chain  cylinder 
of  the  loom. 

Fig.  11,  shows  each  alternate  backing  thread  tied  in 
each  twill  alternately. 

Fig.  12,  shows  each  backing  thread  tied  in  each  twill 
in  succession. 

We  will  now  illustrate  the  manner  of  attaching  a  warp 
back  with  two  threads  on  the  face  and  one  on  the  back.  In 
this  operation  the  same  points  must  be  observed  as  previ- 
ously described,  in  regard  to  the  uniting  of  the  weaves,  and 
having  the  number  of  tyings  equal  in  each  twill.  See  Figs. 
13,  14  and  15  completed  for  use;  while  Figs.  16,  17  and  18 
shows  the  backing  plans,  with  the  working  of  the  harnesses 
numbered  as  they  appear  in  the  completed  weaves. 

FIG.  13.  FIG.  14.  FIG.  15. 


FIG.  18. 

MB 


Fig.  13,  has  four  risers  on  one  pick  and  five  on  the  next, 
alternately,  which  is  owing  to  the  backing  threads  being 
tied  alternately  in  each  twill. 

Fig.  14,  has  four  risers  on  one  pick  and  six  on  the  next, 
alternately,  which  is  owing  to  the  backing  threads  being 
tied  in  succession  in  each  twill. 

Fig.  15,  has  five  risers  on  each  pick  in  succession,  which 
is  owing  to  the  backing  threads  being  tied  irregularly;  that 
is,  the  tying  is  different  on  each  alternate  twill,  although 


60 


THE  SELF-INSTRUCTOR, 


each  twill  has  the  same  number  of  tyings.  This  latter  fig- 
ure will  answer  in  some  cases  and  be  preferred  to  all  others; 
but  generally  speaking,  the  two  former  are  the  most  prefer- 
able, and  those  usually  adopted. 

Third  method. — This  is  what  is  called  a  double  or  warp 
and  filling  back,  and  consists  of  the  two  preceding  methods 
combined.  This  method  is  called  by  some,  double  weaving, 
owing  to  there  being  two  warps  and  two  fillings  employed 
in  weaving  the  fabric.  While  this  may  seem  perfectly 
proper,  it  will  be  shown  further  on  in  this  work,  that  what 
the  author  calls  double  weaves,  are  those  having  the  face 
weave  doubled,  or  two  separate  fundamental  weaves  united; 
the  object  being  to  produce  the  same  design,  or  a  different 
one,  on  both  the  face  and  back  of  the  fabric,  in  addition  to 
increasing  the  weight,  without  the  aid  of  coarse  yarns; 
or,  over-crowding  of  the  warp  and  filling.  Therefore,  we 
shall  confine  this  principle  of  weaving  wholly  to  that  of  at- 
taching a  back,  whether"  of  coarse,  or  fine  yarns,  and  not 
for  the  purpose  of  adding  beauty  to  the  fabric,  in  the  way 
of  stripes,  checks,  or  plaids  on  the  back,  as  usually  done  by 
the  regular  double- weave  method. 

To  continue  the  subject,  we  will  take  the  same  cassi- 
mere  weave  as  before,  and  to  it  attach  a  back,  two  and  one; 
that  is,  there  will  be  two  threads  on  the  face  of  the  frbric, 
to  one  on  the  back,  both  warp  and  filling  ways.  To  do  this 


FIG.  19. 

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FIG.  20. 


FIG.  21. 

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we  will  carry  out  the  cassimere  weave  to  twelve  harnesses 
and  twelve  bars,  as  shown  in  Fig.  19.  By  this  figure  it  will 
be  seen,  that  where  the  backing  threads  are  to  appear,  on 
both  the  harnesses  and  bars  —  3,  6,  9  and  12,  —  we  have  all 
sinkers.  These  sinkers  are  to  be  filled  in  by  the  texture  of 
the  backing  threads,  as  shown  in  Fig.  20,  which  is  really  a 


TEXTILE  DESIGNING, 


two-harness  plain  weave,  when  reduced  to  its  actual  weav- 
ing capacity.  Figs,  19  and  20,  united,  will  give  us  Fig,  31; 
but,  as  this  figure  now  stands,  the  face  and  ba«k  are  not 
stitched  or  tied  together,  hence  it  is  not  a  completed  weave. 

Fig.  22,  represents  Fig,  21  completed,  and  tied  on  the 
plan  as  shown  by  Fig.  23,  being  once  on  every  third  thread, 
both  warp  and  filling  ways;  thus  making  four  risers  on  one 
pick,  and  five  on  the  next  alternately — face  threads, 

FIG.  22.  Fro.  23,  FIG,  24, 

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•nMnnLBf' 
IBBBB:  BBB 


Fig,  24,  represents  the  same  weave,  and  tied  on  the 
plan  as  shown  by  Fig,  25,  being  twice  on  every  third  thread, 
both  warp  and  filling  ways;  thus  making  four  risers  on  one 
pick,  and  six  on  the  ^next  alternately. — See  Sample  No.  J^ 
made  from  this  weave. 

Fig,  26,  also  represents  the  same  weave,  and  tied  on  the 
plan  as  shown  by  Fig.  27,  being  twice  on  every  third  warp 
thread,  and  once  on  each  face  filling  thread;  thus  making 
five  risers  on  each  face  pick  in  succession. 


FIG. 


FIG.  26. 

2 •BBBBrBBBBBH 

-:    B   B   : ::  B«B:  ::  : 

4  BBH:  : ::  'BB: • 

••>  BB  BBBBD  HBB 

')  B:  :     B*B:  :: :   B  ; 

7  :  T;:BB::.  :  «BB  : 


FIG.  27. 


B»B 


IBB 

.:B* 


I2Q1  n ; 


Fig.  28,  illustrates  Figs.  20  and  23  combined,  and  rep- 
resents the  backing  texture,  both  warp  and  filling  ways, 
in  Fig.  22. 

Fig.  29,  illustrates  Figs.  20  and  25  combined,  and  rep- 
resents the  backing  texture,  both  warp  and  filling  ways, 
in  Fig.  24. 


62  THE  SELF-INSTRUCTOR, 

Fig.  30,  illustrates  Figs.  20  (with  the  backing  bars 
placed  one  nearer  to  the  top)  and  27  combined,  and  rep- 
resents the  backing  texture,  both  warp  and  filling  ways, 
in  Fig.  26. 

FIG.  28.  FIG.  29. 


zLinnnurii 
5  --^zz«:;z:  ~ 
e  ••:•••••-• 

- 


These  three  latter  figures  were  designed  more  especially 
to  show  the  reader,  the  manner  of  drawing  off  and  illus- 
trating backing  textures,  in  this  class  of  weaving;  and,  we 
believe  them  to  be  sufficient  in  their  line. 

Figs.  31  and  32,  are  the  same  as  Figs.  22  and  24,  except 
the  back  filling  threads  float  under  eleven  warp  threads, 
instead  of  five. 

Fig.  33,  weaves  the  same  face  as  Fig.  26,  but  the  tying 
is  done  in  the  opposite  direction,  and  the  position  of  the 
b&ck  filling  threads  are  changed. 

FIG.  31.  FIG.  32.  FIG.  33. 

i  i  E9i.FEi^  I 

3  mmmmmmmmmmmn  3  BBBB  DBBBBBB  3  ••.»•::•••••• 

-»  ••^r:r:«B   p  4  um~~~   ••  ~  -4  ••  •-  •-  T.MB  »:::.. 

---  ~~  5  •--  ~B»M  :::„!*  -r>  m^~rm*m  .....  •'  : 

mm   mmaamamam  <;  •••••••H    ••• 


T-----BJM  ........  •• 

s  =•«••-  :-i»B-  :-  . 

B4HBB      BHHBBB  BBBBBBBBHIB 

'    -        •  " 


^ 


-  .  _ 

HBJ:_:  '""•":•'"'   •»  B  .....  •••        •»  UBI~~ZB:-:»I 

BBBBBHBBBBB  BBBBaBDBHBB  -BBBHnB 


The  style  of  back  attached  to  these  three  latter  weaves, 
is  more  especially  adapted  for  coarse  stock,  and  a  heavy 
backing  filling,  as  it  has  less  tendency  for  the  back  to  show 
through,  on  the  face  of  the  fabric. 

It  will  be  observed,  that  the  stitching  or  tying  in  this 
method  of  backing  fabrics,  is  conducted  on  the  same  prin- 
ciple as  in  the  preceding  method;  hence  it  requires  no  fur- 
ther explanation  in  this  direction. 

By  this  combined  warp  and  filling  method  of  backing 


TEXTILE   DESIGNING. 


0:5 


fabrics,  a  back  may  be  attached  to  any  weave  desired, 
on  every  second,  third,  or  fourth  thread,  as  the  case  may 
require,  by  observing  the  following  manner  of  running  in 
or  weaving  the  back  filling  threads:  For  every  second 
thread,  thus  (  ***g  ).  eveiy  third  thread,  thus  (  KSH.  ); 


every  fourth  thread,  thus  ( 


BBBBBBBP 


in  eacn  case, 


as  often  as  deemed  necessary. 

Following,  we  present  a  few  illustrations  of  standard 
weaves,  with  a  back  attached  in  various  ways,  which  will 
more  fully  demonstrate  our  ideas  on  the  question  of  tying. 

Figs.  34,  35,  36  and  37,  are  those  of  a  double-pick  or 
basket  weave,  carried  out  to  twelve  harnesses  and  backed 
every  third  thread,  both  warp  and  filling  ways. 


FIG.  34. 


FIG.  35. 

nnnn..nnnn 

~ 


FIG.  36. 


FIG.  37. 


BPBPP:  -B:  :Br:r.n      BBppp»BBGnnn 
I»BPP~BPB'  'PP     BBPPP'tBBpnnn      B-»BP:  :PB»BP*  '"      BB»PPPBB:  n 

-wiRiSSBB    SSRB.SSgnSBg    gS*.p.p.S'.S5    ggSBBSSSBSS 

n: :  B*B'~~n  B'~B     P:  .«BBL  :: ':  :PBBP      PPPB*BPPPB'»B      pnpBB'*pntBBn 

B  BHBBB  BBBB   BBBBB'  BBBBBPj    BBBBBBBPBBBB    BBCBBBBBBBBB 

BinBnnnBnBnn       BB~  :  LJPBBP:  pn      BP:B:P  "  'B  'B  BBPL::    BBPPP> 

B  B'  ':  BS*Snn       BB:"P:PPBBPI-:P»>      B-»BnntB-»Bcn        ••nnr.:rBB*i-  P 

BBBBPBBBBBPB   BBPBQBBBPBBB   BBBBBBBBBBPB   BBBBBBBBQBB 

RPPB' 'B"""'"B"'B       pL.'BBpnnnBBn     nnnBr.BPDEBrB      PP»BB:  PPLIBBO 
P;::B' ''B:":P:  :B»'B       ' "  "BB'  'pn>BB:  *      nppB^BnnpB'*B      nnnBBnnnnBB<t> 

BPBBBBBPBBBB   BBBBBPBBBBBn    BCBBBBBBBBBB    BBBBBBBB  BBB 

Figs.  38,  39  and  40,  are  those  of  the  regular  six-harness 
twill,  backed  every  third  thread,  both  ways.  Figs.  41  and 
42  are  the  same  weave,  with  a  backing  every  fourth  thread. 

FIG.  38.  FIG.  39. 

BBBBB'PBBBBB^BBBBBn  HBBBEB9BI 

•npG'T  BBPBn~npnBBn  ;nnBPBBnnnpnB« 

..::;:....::.. 
ii-eiiBiPii.iisn.  is;i"  BB..s55yPs 

BB*SyvSBSfflffl 

BBBBBdBBBBBPBBBBBn 

Figs.  43  and  44,  are  those  of  a  six-harness  basket  weave, 
backed  every  third  thread,  both  ways.  Figs.  45  and  46  are 
the  same  weave,  with  a  backing  every  fourth  thread. 


THE  SELF-INSTRUCTOR, 


Figs.  47  and  48,  are  those  of  the  regular  eight-harness 
twill,  backed  every  third  thread,  both  ways. 

FIG,  41. 

nnfinBwnnnnMnMBnn 
'  BB  B     ' ::  BB»B   '  • 
•BBBBIBB   BBBBBQBB 


m":  rrt 
••••   ••••••••   ••• 

mnmmmummmmummmmmm 


FIG.  43. 


mm 


!  ^mmmm7] 

JvB 

••  :mmmmm  BBBBB   BBB 

:;;:;••:••;: 

I     BSBHB 


^  FIG.  44. 

^BSIil^iMsiiii 

• "  ••»•::£  r:"B.»n» 

S~mm —  :  :  BT  •••' : 
•••:  iiBBDBBEia  :•••• 


n: :: !:  "M* 

••••"• 

mmmmm: : 


iln^isT "' 

IBB     BBBBB     BBBBB 


LJL^:  ..  -.  -••-  ,•-  ..-^ am     m 

nn**"5":*::  :":**:••" 
N   BB     :  ' ::  :••••. :  :: : 

BBJB  BDBGBBaa   BBBB 

M #••:::-":: ;:  :~m:  :mm:  ::::^nn 
•"••"  ~  : ::  :•:  BB  :: : 


FIG.  45>, 


FIG.  45. 

•••nnnnnBiBi«n 

•••ant  unmmma 


jgi_ 

FIG.  46. 


Smm: 
mm: 




••• 

mmn 


•••••••D 

:mmm  ::   :       BB 

SB:;;  H3*r:;;;.Sv 

mmm^mmmmmmmammmm 


B9BBDBDBBBBtIBQB 


BBB*IH:  ;BHBMBHHn 

•wnnnnnMBMn  •••_.nnni_:BiHBnnnLiiii 

"••'^'  •'•  -'•  nmm*  m"    :  "  ''  ^'555:  '•  '•  ^'V 

••••••QBMBM  •••:  BHBBBBBBBBBB 


FIG.  47. 


BB 


FIG.  48.  FIG.  49.  FIG.  50. 

•nnonnnMCMBQ  ••nBBnnninnnn  •rMBCBmnn 

ntiBiH*-BBn  ••»«Bnn  ••'^••nMnnnnr 

BB    '•••••••••  BBBBB     BBBBH  BBBBBBB:  :BBI 

'  II    B     BB-    B:  -  :  BB     BB   :  !  BBB     B     ~ 

~."BB    'BBnn  ••"•B""'  •     BB»B"': 


TEXTILE   DESIGNING. 


65 


Figs.  49  and  50,  are  those  of  the  eight-harness  basket 
weave,  backed  every  third  thread,  both  ways. 

Fig.  51,  represents  a  herring-bone  and  double-pick  text- 
ure combined — four-harness  work. 
FIG^  51. 

:  :~BB~I:BB:  :~I»y ::  mm  "  '••"":•• 
*~~mm  •  mm  mm  mm  ::  ••  * 
MI  :::••:;-  mm  mx  am  mm 


Fig.  52,  represents  the  same  texture  as  the  above,  but 
with  a  back  attached  every  third  thread,  both  warp  and 
filling  ways.  We  illustrate  four  methods  of  reducing  this 

FIG.  52. 

~«™~«  »  mn~cm^Mn.nn 

QBflHIBBIBDBBBB 


35! 


"55 


:•::• 


IT 


figure  to  its  lowest  terms,  and  of  making  out  the  chain  drafts 
FIG.  53.  FIG.  54.  FIG.  55.  FIG.  56. 


:  ~BT:I  •  •;  : 


'I       '• 

and  dra wing-in  drafts  as  shown  in  Figs.  53,  54,  55  and  56. 

9 


•SSSSffi 


66  THE   SELF-INSTRUCTOR, 

The  first  method  of  reducing  is  made  out  in  the  usual 
manner,  by  commencing  with  the  first  left-hand  thread  and 
working  or  reducing  to  the  right,  which  will  require  a  chain 
draft  and  drawing-in  draft  as  shown  in  Fig.  53. 

Second  method,  we  reduce  the  face  threads  first,  in 
their  numeral  order,  then  go  back  and  take  up  the  backing 
threads  in  the  same  order,  which  will  require  a  chain  draft 
and  drawing-in  draft  as  shown  in  Fig.  54. 

Third  method,  we  commence  with  the  twenty-fifth 
thread  and  reduce  the  double-pick  (face  threads),  then  go 
back  and  take  up  the  four  backing  threads  in  their  numeral 
order,  after  which  we  commence  with  the  first  thread  and 
reduce  the  remaining  ones,  which  will  require  a  chain  draft 
and  drawing-in  draft,  as  shown  in  Fig.  55. 

Fourth  method,  we  begin  at  the  same  place  as  before, 
reduce  all  the  face  threads  first,  then  take  up  the  backing 
threads  in  their  numeral  order,  which  will  require  a  chain 
draft  and  drawing-in  draft  as  shown  in  Fig.  56.  This  latter 
method  it  the  best  of  all  the  others  f  or  th'e  harness  layout. 

Fig.  57,  represents  a  herring-bone  and  basket  texture 
combined  —  eight-harness  work. 

FIG.  57. 


~~ 

rir 


••••  .•:.::.;r;  •••_:" 

Fig.  58,  represents  the  same  texture  as  the  above,  but 
has  a  back  attached  every  third  thread,   both  warp  and 
FIG.  58. 

MB~        *::••*:  ::  :•"••*••  :*  ^:55r:55:  :~ 
•.•••::•••..  •••••   ...••»...   ••••• 
••»•-:!     ..:::•—"•  «••!:•:::      ::••».. 


...»  »...  BSlII:  ...»  .....  "*". 

•  •  •••    •          •  »»  .««B. 

*:  ••"••  ::    n  •  •  ••     -  ••  :•• 
»  B.IBH  :•••••;  •  »»••»•  •  ••••  :••• 

*-  tO  CC  W  4k.  o  C-T  Ci  ^-  -^  QC  t3  A.  C*9  tC  t5  —  tS  Oc  -1  —  O5  Cn  O  ^-  H*  5D  »—  h-  O  Cn  Cn  ^  Cn  O»  tO 

filling  ways.     We  illustrate  three  methods  of  reducing  this 


TEXTILE  DESIGNING. 


67 


figure  to  its  lowest  terms,  and  of  making  out  the  chain 
drafts  and  drawing-in  drafts,  as  shown  in  Figs.  59,  60  and 
61: — on  the  same  principle  as  before  described — the  latter 
method  being  the  best  layout  for  the  harnesses. 

FIG.  59.  FIG.  60.  FIG.  61. 


ManncM 


By  referring  to  the  above  combinations  (Figs.  52  and 
58),  the  reader  will  observe,  that  in  each  of  them  the  back 
filling  threads  are  woven  in  the  same  every  time;  that  is  to 
say,  there  are  the  same  number  of  risers  in  succession  on 
each  of  those  picks,  across  the  whole  width  of  the  pattern; 
or,  in  other  words,  no  break  in  the  risers  where  the  weaves 
change.  This  is  a  point  which  should  be  observed  as  much 
as  possible,  in  combining  weaves  with  a  backing;  thus  pro- 
ducing an  even  back  to  the  fabric,  and  often  doing  away 
with  bad  effects  on  the  face. 

We  have  endeavored  to  demonstrate  this  subject  of 
attaching  a  back  to  fabrics,  in  as  plain  a  manner  as  possible 
on  paper;  and  should  anyone  interested  herein,  fail  to  com- 
prehend our  meaning,  we  would  advise  copying  off  on 
design  paper,  such  figures  as  they  do  not  understand,  ob- 
serving carefully  the  working  of  each  harness  and  pick  as 
they  do  so.  This  will  prove  of  great  aid  to  the  beginner  in 


68  THE   SELF-INSTRUCTOR, 

enlarging  his  mind  to  a  better  understanding;  or,  in  other 
words,  he  will  accomplish  in  this  manner,  what  he  might 
not  have  accomplish  in  several  hours  of  continuous  reading 
the  subject. 


CHAPTER  XIII. 

COMBINING  WEAVES   ILLUSTRATED. 

Combining  weaves  is  an  important  branch  in  the  art  of 
textile  designing.  It  is  not  only  important,  but  it  covers  a 
great  field;  in  fact,  so  great  that  it  is  beyond  the  power  of 
man  to  comprehend  its  scope.  Hundreds,  yes,  thousands 
of  designers,  have  been  engaged  in  this  business  for  many 
generations,  and  yet,  new  combinations  are  being  brought 
out  every  day.  How  utterly  useless  then,  for  us  to  attempt 
to  cover  the  field,  in  its  entirety,  in  a  work  of  this  character. 
Therefore,  all  that  we  shall  attempt  to  cover  is,  to  bring  up 
and  illustrate  the  principal  points,  obtained  by  practical 
experience  in  the  business. 

In  the  first  place,  generally  speaking,  a  complete  break 
or  cut-off  should  be  made  when  reversing  the  position  of  a 
weave,  or  combining  it  with  that  of  another,  if  possible  to 
do  so;  and  thus  avoid  threads  from  floating  over  or  under 
each  other  any  more  than  required  in  the  regular  weaving 
of  them. 

In  the  second  place,  when  a  sufficient  break  or  cut-off 
cannot  be  made  without  causing  too  much  of  a  float,  an- 
other method  of  weaving  for  one,  two  or  more  threads,  as 
the  case  may  require,  should  be  introduced  between  such 
weaves,  to  form  the  cut-off  and  properly  unite  them. 

In  the  third  place,  avoid  combining  weaves  of  too  great 


TEXTILE   DESIGNING.  69 

a  difference  in  the  textures  to  be  used  in  the  same  design, 
as  such  are  apt  to  cause  the  fabric  to  weave  either  too  tight 
or  too  loose  in  their  respective  places;  thus  making  more  or 
less  trouble  and  dissatisfaction  from  the  weaving  to  the 
selling  of  the  goods;  besides,  greatly  impairing  the  wearing 
qualities. 

In  order  to  demonstrate  the  points  spoken  of,  we  will 
call  the  reader's  attention  to  the  following  illustrations: 

Suppose  that  we  wish  to  make  a  fabric  consisting  of  a 
four-harness  cassimere  twill,  and  a  double-pick  or  basket 
weave,  combined  as  follows: 

16  threads,  right-hand  twill; 
4  threads,  basket; 

16  threads,  left-hand  twill; 

8  threads,  basket: — in  all,  44  threads  with  a  perfect 
cut-off, — it  will  give  us  Fig.  1. 

FIG.  1. 


cmmnot 


The  manner  or  combining  these  texfhires  would  prove 
all  right  in  many  cases,  but  were  it  required  to  run  the  fill- 
ing two  and  two  of  different  colors,  and  have  the  basket 
show  the  same  in  both  places  of  the  pattern, — either  a  per- 
fect pin-check  or  stripe — it  would  not  answer  tlie  purpose. 
For  it  will  be  seen  by  referring  to  the  figure,  that  while  the 
eight  threads  of  basket,  at  the  right,  were  weaving  as  de- 
sired, the  four  threads  of  basket,  between  the  twill  stripes, 
would  produce  a  broken  appearance  as  shown  by  the  differ- 
ent characters;  or,  in  other  words,  they  would  appear  as 
though  woven  pick  and  pick.  Hence  the  combination  must 
be  changed  so  that  the  basket,  in  both  places  of  the  pattern, 
will  stand  in  similar  positions.  By  referring  to  Fig.  2,  it 

FIG.  2. 

uumm: — ••—^••~nM~nMM"GMn:2MHGBM":nMM3CMWioni 
'  ••      ••      ••   :  KB         » » »      ••      BB      EI      •  ::  ••: :    BB 

BB: ::  :••:  ::  ••     :••;::  BB      ••: ;:  :••.  :;  BB  ::  :••      ••      mm 
nnnmmznmmnumm:~-*++<^<>mmnummnnmu'3ummnmmnzmmnn 

will  be  seen  that  this  point  has  been  overcome;  but  the  re- 
sult is,  we  have  not  got  a  perfect  cut-off,  there  being  three 
risers  and  three  sinkers,  side  and  side,  on  each  alternate 


70  THE  SELF-INSTRUCTOR, 

pick,  as  shown  by  the  different  characters.  N"ow,  this  will 
not  do  in  a  texture  of  this  kind,  for  in  those  places  the  fab- 
ric will  show  an  over-shot  appearance,  which  will  spoil  the 
effect  of  the  basket  figure.  If,  for  certain  reasons,  it  were 
essential  that  just  44  threads  should  be  retained  in  the  pat- 
tern, and  have  a  perfect  cut-off,  then  change  the  position  of 
the  middle  basket  figure,  and  the  first  thread  on  each  side 
of  it  to  read  as  shown  in  Fig.  3.  But  if  it  were  not  essen- 
FIG.  3. 

B3! 


tial  to  retain  44  threads  in  the  pattern,  then  take  out  those 
threads  on  each  side  of  the  basket,  and  transpose  this  basket 
figure,  as  shown  in  Fig.  4;  the  result  is,  there  are  now  but 
fifteen  threads  in  each  twill  stripe,  while  before  there  were 
sixteen. 

FIG.  4. 


:  :••.  ZIBB:::  BB      BB     BB  ::  BB  :   BB  :  ••^nHanHinnn 

SSBg:3ByB3Bg53BS5BB5gBgSgBSSgB55gBSSBBKBB 


FIG.  5. 


KgBBBSBBBMgBB35BBBS5SBBSMgBMSBB355gBSHffl 


FIG.  6. 

SnnnnBBBBnnnnBBBBnnmBBBBnBBBBnBBBBnnnnBBBBnBBnn 
BnadPBBBnnnnBBBBnnnBBBBmBBBBnaBBB-:  ' ' 

nnBBBBnnnBBBBnnnnBBBQnnnBBnnnnBBnniiiBBBBiirJijBBnrtBB 

JXIBBBB:    'BBBB::' ::i:  IBB:  ir;j::j«B«nL:      BBB  I  BBBB     :BBB~  DBB 

n:  :U::BBBB.  :BBBB:J:  ::J:JB:J:  :::L:BBBB::  :: -IBBBB:  :BBBB:  :BBBB:::  BB 

Fig.  5,  illustrates  a  six-harness  twill  and  basket  weave 
combined. 

Fig.  6,  illustrates  an  eight-harness  twill  and  basket 
weave  combined. 

On  looking  over  the  above  figures  it  will  be  seen,  that 
in  each  one  of  them  the  twill  stripes  contain  an  uneven 
number  of  threads.  From  this,  we  wish  to  have  it  under- 
stood, that  in  order  to  combine  twills  with  basket  weaves 
so  as  to  have  the  basket  figures  stand  in  the  same  relation 


TEXTILE   DESIGNING.  71 

to  each  other,  there  must  be  an  uneven  number  of  threads 
in  the  twill  stripes  or  figures.  But  bear  in  mind,  this  is  not 
necessary  when  using  all  one  kind  of  filling,  or  when  run- 
ning a  filling  pattern  to  produce  a  hit-or-miss  effect. 

When  reversing  regular  twills,  which  contain  an  even 
number  of  harnesses,  for  the  purpose  of  producing  herring- 
bone effects,  the  cut-off  should  be  made  at  the  completion, 
or  in  the  middle  of  the  twill,  the  same  as  shown  in  Figs.  7, 
8  and  9. 

FIG.  7.  FIG.  8. 

""••urMncMB  £•••"•••  —  m~mm  —  • 

' 


FIG.  9. 


* 

saam    m  ana        :•:  mem 

nnnr.MHMn™".MM;:nn~MM 

Each  of  these  reversings  may  of  course  be  carried  out 
to  any  size  of  pattern  required. 

The  above  described  points  apply  equally  the  same 
when  combining  twills  and  basket  weaves,  into  patterns  of 
blocks,  checks,  or  diamonds  of  any  size,  and  of  any  number 
of  different  combinations. 

FIG.  10. 


"SS, 

LJ~«I 


Fig.  10,  illustrates  the  manner  of  combining  a  cord  with 
a  twill.  In  this  figure,  it  will  be  seen  that  on  each  side  of 
the  cord,  one  thread  is  run  in  on  the  plain-weave  principle 
to  make  a  perfect  cut-off  for  the  cord.  This  is  a  rule  quite 
commonly  adopted  in  this  class  of  weaving,  and  often  two 
threads  are  wove  in  as  a  plain  weave,  in  place  of  one  for  a 
cut-off.  However,  it  should  be  borne  in  mind  that  these 
threads,  in  many  instances,  should  be  of  a  strong  and  elas- 
tic nature,  in  order  to  stand  the  extra  strain  which  comes 
on  them.  On  this  principle  a  cord  may  be  combined  with 


72  THE   SELF-INSTRUCTOR, 

any  style  of  weave.  Although  in  some  cases  it  is  advisable 
to  run  both  the  cord  and  cut-off  with  two  picks  in  a  shed, 
instead  of  one.  If  two  colors  were  used  in  the  filling  of 
this  pattern  (Fig.  10),  and  run  in  pick  and  pick,  the  two 
outside  cords  would  be  the  same  in  color  as  one  of  those 
colors,  and  the  middle  cord  would  be  the  same  as  the  other 
color;  hence  the  position  of  the  cords  must  be  governed  ac- 
cording to  requirements,  on  the  same  principle  as  demon- 
strated in  the  first  four  figures. 

FIG.  11. 


^^s^.s.ls^^^^.%1 

Fig.  11,  illustrates  a  combination  of  ribs  and  cords;  as 
here  show,  they  represent  but  one  independent  weave,  for 
neither  the  rib  nor  the  cord  texture  alone,  make  a  complete 
weave.  Observe  the  position  of  each,  which  may  be  carried 
out,  or  reduced  to  whatever  size  required.  The  texture  of 
this  figure,  forms  a  sufficient  cut-off  in  itself  without  insert- 
ing special  threads  for  such. 

FIG.  12. 

^1 


6-har. 


OM^MMM 
diagonal. 


3-har. 

H     ••     • 

5SM2 

m   am   m 

'..•:. 

twill. 


Fig.  12,  illustrates  a  six-harness  diagonal  combined 
with  a  cassimere  twill,  and  basket  weave.  Although  there 
is  a  perfect  cut-off  in  the  twill  and  basket  combination,  yet 
it  will  be  seen,  that  such  is  lacking  between  the  twill  and 
diagonal.  However,  in  this  place  it  is  not  necessary  to  have 
a  perfect  cut-off,  owing  to  the  nature  of  the  diagonal  being 
such  that  a  float  under  four  threads  would  not  be  out  of 
place.  The  diagonal  in  this  figure  is,  of  itself,  a  combined 
weave  as  will  be  seen:  If  we  commence  with  the  top  bar 
and  take  each  alternate  bar  or  pick,  and  set  them  down  un- 


TEXTILE   DESIGNING.  73 

der  each  other  in  the  regular  order,  it  will  give  us  the  six- 
harness  diagonal;  and  the  remaining  bars  handled  in  a  sim- 
ilar manner,  will  give  us  the  three-harness  twill. 

FIG.  13. 

m~i'^.mm~~mu~~mm":~m~mi.mrm~mrm~m~m~m — •• — mm-—m-—m 
MB:::  mm:  •m~-mm-~.m:  ::-.m  :•::••  ::  :M:  •   ••  •  •'m:-:~m:^m  -•H^ 

BB      HB      BB      B    BBJI    B         BBB    a         BOH      DB      ••    BB    BB 
7~~mm~-~: :»::••   :  •••     ::  ::••••  BBBB      ••    IB    BB      DB    BB 

•::::••  ::••::  ••  :_MMBB::::::::BBMB::::;  :::•::::••::::••:::  ".•:: 
••"•.••~M:  "MM::  ••:::::   M::MMM~   ::M~MMM'  ••: -~m-:~-.m-rmm- 
~  ~~~~~~~~' ' 


Fig.  13,  illustrates  a  peculiar  combination,  particularly 
the  middle  part,  which  is  often  used  in  both  light  and  heavy 
weight  goods.  The  texture  is  such  that  by  aid  of  the  cot- 
ton stitch,  it  can  be  readily  applied  with  nearly  any  weave, 
and  yet  produce  a  sufficient  cut-off. 

Fig.  14,  illustrates  a  five-harness  doeskin  and  a  five- 
harness  diagonal,  combined.  This  does  not  make  a  perfect 
cut-off,  yet  it  is  so  near,  owing  to  the  nature  of  the  weaves, 
that  no  extra  floats  will  be  observed.  From  this  it  does  not 
follow  that  these  weaves  could  be  placed  in  any  position 
with  each  other,  and  obtain  a  similar  result.  For,  were  we 
to  move  the  diagonal  up  one  pick  on  the  doeskin,  thus 
FIG.  JL4. 

5-har.  M'MMM^MMB!  5-har. 

B    BB  BBBB   B   Bfl  B   *• 

BOB  BB  BB  ama  m  am 

B3B  BBBB   BH  fl  BIB 

B9B  BSB  BBBB  BB   B 

BB       B  B    aaaoa    B  •    B    • 

tmU.  ••••--••-=•  diagonal. 

throwing  the  top  bar  to  the  bottom,  we  would  then  have 
seven  risers  side  and  side  on  the  sixth  bar.  Hence,  it  will 
be  seen  that  when  combining  weaves,  which  will  not  admit 
of  a  perfect  cut-off  without  inserting  extra  threads  or  har- 
nesses for  such,  the  best  position  in  each  of  them  for  uniting 
is  found  on  the  cut-and-try  principle.  In  the  diagonal  there 
is  combined  a  twill  and  diagonal  of  five  bars  each  as  shown, 
which  are  found  in  the  manner  previously  described. 

Fig.  15,  illustrates  a  five-harness  doeskin,  of  both  warp 
and  filling  face;  also  the  same  texture  arranged  into  twills, 
of  warp  and  filling  face;  all  of  which  are  combined  into  a 
block  pattern,  forming  a  complete  cut-off.  In  this  man- 

10 


74  THE   SELF-INSTRUCTOR, 

ner  an  unlimited  number  of  different  combinations  may 
be  made;  and  of  which,  such  are  used  in  weaving  ladies7 
dress  goods.      The  three  and  four-harness  weaves  on  this 
principle  are  also  used  quite  extensively  for  that  purpose. 
FIG.  15. 


•  •   '  •   :  '••••'  •  ::.: — 
i      ••    ••   :::;  :•::•••• 
•    ••••    : ::  •  :•;  :••• 
mam    m       m       mm    mm 

5E5*K%'E    K5i« 

Speaking  of  block  combinations,  perhaps  it  may  be  well 
to  illustrate  a  figure  method  which  we  use  when  combining 
weaves  of  an  equal  size,  both  ways,  that  will  make  a  per- 
fect cut-off.  For  this  purpose,  we  will  take  the  four  follow- 
ing four-harness  weaves,  and  call  them  1,  2,  3,  and  4;  and 
when  using  any  one  or  all  of  these  figures,  they  will  each 
respectively  stand  or  represent  that  full  weave. 

1234 

•  ••  nnnn  •••  unum 

•     ••  ;~":M~"  ••     •  HW_"U 

55S5  S3BB  Si!":  SS3B 

Suppose  that  it  were  required  to  combine  all  of  these 
figures  (weaves)  into  a  small  block  pattern,  on  the  plan  of  a 
twill,  we  would  arrange  the  figures  to  read  as  below,  which 
would  represent  a  pattern  of  sixteen  threads  both  warp  and 
filling  ways,  as  shown  in  Fig.  16. 

FIG.  16. 


1         ~»        O        t  •••••••       • 

I    &    o  ,4;  :  :•   •••'::  :  •  :••• 

2341  .'   5'.3  V  SM" 

O      4       -I       O  •"-•'••••  "•• 

•5    *    1    A  ;  •••         m    m»m  ------   • 

4123  s'.s  %  s.*:  .• 

•  ••    •  ::  ::  mme    m     : 

::  •  :•••:  :~     •    ••• 
£•:  :::M  ••  :  •;,:••:  :• 
" 


Now  we  will  take  1  and  2  only,  and  combine  them  into 
another  style  of  pattern  by  arranging  them  in  the  manner 
given  below,  which  will  give  us  a  pattern  of  sixteen 
threads,  both  warp  and  filling  ways,  as  shown  in  Fig.  17. 


TEXTILE  DESIGNING, 


(Of  course,  it  will  be  understood  that  this  style  of  patterns 
are  designed  more  especially  for  ladies'  dress  goods,  than 
for  gentlemen's  wear.)  FIG,  17. 


222 
2 


1 

2 
2 
2  2  2 


1    1 
1    1 


mucmmcm 

iniLiiiMHHn 

Again,  we  will  take  the  same  numbers  and  arrange 
them  in  another  position,  which  will  give  us  Fig.  18. 
FIG.  18. 

BfflraySBSKMSSB 


ByBSISSsiS  K.5 

••:::  :•:  : :  :•; :   :  :••. : 


Srz ::  :•••:  :•  : ::  :•: :: : 
•  :•••: :: :  •     :  :• 
c:  '•:  :•'  '••: ::  •: :: ::  :•: : 


S5 

.•PBULI 


12222 
21111 
21221 
21221 
21111 


12222 


•:     ••::•••  :•••:  :•••:  »   » 
IPLIPBBBPBBB:  :•••:  :•••:  :•: :::: 
•   ••• 


Again,  taking  1,  2,  3,  and  4,  we  will  arrange  them  so 
as  to  produce  the  pattern  shown  in  Fig.  19. 

FIG.  19. 


321123 
221122 
114411 
114411 
221122 
321123 


:  \f:m- ;: ::  ;•••:  [•••PHdi  'Oman 
immnmmm:-:ui'M: :: ,;  ;«•  •••  :••• 

•••"•••*B:  ;:*    •    *    •••:  '••• 
:  •••  '•••  .: ::  :•: :; ::  •   •••   ••• 

•:  •••  '••:  :•: ::  :  •      •  :•••:  •• 


aw- Hsavd    s 


?6  THE  SELF-INSTRUCTOR, 

Thus  it  will  be  seen,  that  there  is  no  limit  to  the  num- 
ber of  combinations  which  may  be  made  with  these  four 
simple  weaves.  These  combinations  may  be  enlarged  to 
any  size  required. 

By  this  figure  method,  a  designer  can- put  his  ideas  on 
paper  much  quicker, — without  even  using  either  design 
paper  or  characters — and  thus  be  enabled  to  lay  out  in  a 
few  minutes,  large  designs  which  would  otherwise  have 
taken  several  hours  to  accomplish.  Of  course,  he  will  have 
to  familiarize  himself  sufficiently  with  it  to  keep  in  his 
mind  the  exact  weave,  and  the  position  which  each  figure 
represents,  in  order  to  see,  as  it  were,  the  run  of  the  texture. 
After  having  completed  the  design  to  his  satisfaction,  it 
may  be  drawn  on  design  paper  in  the  usual  manner  if  re- 
quired; although,  both  the  chain  draft  and  dra wing-in  draft 
can  be  made  out  from  the  original  work. 

FIG.  20. 

~~~:-*mm~~~m. 
'•••: :::::««   ' 

nnnfiBBa  ^ 


•  ••  BUB      II 

r B  BBB  •;  •••  ::  EBB 

•  ••  ^BMBL^MM- 


::  •::.     •••        ••••••        •••  ;      mmm 

•a    NIB         mmm         m         mmm         am* 


..      .          .      . 

mam  mmm  :  HHB  :  •  ::  HIM    HBB  ;:  • 


mmm   mm   'mmm'  — mam 
mmm  mmm  :  •••:  -   •    •••  ::  BBS    B 
' 


BBB  :••• 
~r 

•  i 

a! 


•"  •••••    •      m    mm     mm     mm 

-Mmm    BB      BBB      BB    BOB      BBB      EBB 

••     •      BUB     BED   EBD      BBB      BBB 

"      BBH   BBB*     •••":     •". ;:  •••"  p  •••"     • 

S^mmm^mm^.'-.r.'mmm'   ::«5:  :'•••*:  r:«55*      BBB 
BB     ;-••:  ~ZBHB_-     mmm  -mmm:^::.mmu-n~mmm- 

Fig.  21,  mustrates  si  plaid  block  patt&n,  Composed  of 
common  six-harness  twills,  all  of  which  run  in  the  same 
direction.  This  design  produced  in  all  one  color,  and  kind 
of  yarn,  will  show  up  the  plaid  effect  to  a  good  advantage. 


TEXTILE   DESIGNING. 


7? 


owing  to  the  sharp  cut-off  in  the  twills.  In  this  manner 
any  evenly  balanced  twill  may  be  arranged  and  carried  out 
to  any  size  required. 

FIG.  21. 

•nnr...::::::...::.-.".::.:  :.r.::n 
"-  BBB::-"  BBB:  :::B' ;   -  B"  ••:-•:  ~; :: : 

B     BBB        :    BMB     B     B:  H     •     •     •     B 

Pi"  .:•"  .v.  MvA-» 

B    BBB  -'  BBB  B    BBB  B    BOB    BBB      m::.'C."^:'J 
:  BBB  :  :BHB  ~  *B   B  B' 'B:  : BBH    BBB::BBBBB::BBBBB 

•iss-^ss-  •  s ;  s  is  •.«•-  ^ss^^y..^!.1 

BBB  ;  BBB:  : ::  :B:  :B:  '  ::•;:•' 'B;  :.BB' T:::BBB:  :   B   :  :  B  :::  : 

^s  1  -«M!!"%:i"  .is"  .ss"  .si"  .s."Eii3.i 

m  m  m  n     BBB    KB  a    BEB  :  :  BBB:;:::  BBB:  :  •::•••-" 

:  :B'  'B  B  B'  B'  B'  B    •  EBB     9EB     9BB     EEB     B  B     B 

Br'n  l:  •:  :B::B:  :•::"::•••:::::  :...L::  :::.BB:  :;::-BBB:::  :  :BB  -  r:  B. 

BBBBB  "  B  B   '.'.  '..  PBB  .'.  '.  'BBB:  :  '  BHB  :  ]'.  DBB  "   BBB  7."  BB. 

•  ::  B  B  B  B  BBB BBB  "  '  BBB     BBB     BBI 

BBBBB  :;  ;•;  ;•: ::  -BBB.  _: ::  'BB.;j::r:..B^~:  BBB  ;:  ':-•••: 

•*r.:%5B*::*BBB*::  ::  B::L!  ^mdcrmmm--  'BBB::  :-«:  c«ni 
RBI  :: ::  'BBB  BBEBB  BBBBB'  ::  BBBI:::::  .••;::: 

B'  'BBB'  BB9     •  fl  ^        "  •••CCCH.lBCBl 

[-... BBB  "  •   BBBBB:  BBBBB   BBB  r":±..B:::: 

BIMM~::  BB.  .: ::  :B:  : '   .":..::::     :     BBL::::: 'BBB:  .:::•:     .  H 

B    "'     BBB  B     BHBBBV'BBBBB     H:::  ;.  .B..;  :..'    B     B     B     B     B:    B     B 

B' '      BBO        BBB          : ".   ::   ''      " :  BBB:::::  BBB        B        B   B 

:.  '  BBB  :'  ':  BBB  BBBBB  BBBBB  ^   BBB     BBB  .     9     B  B 

•::•••::"  .BB  •  ::  :  n   .  :  ::...:::::::.BB;  ~B:  : 'B: 

£35-  M55-  .»•••.««•  53'  iSS"  y  E3 

BBB  a  •: :.  B  a  m.  m  m  'm'  u  m:  mm  .::.::.r'.  B'  B  .£§:::. 
B  B  B  B     •: :  :  BBB'   BB  B  B  .:.:::  : ..::  "  ..  inmi 

fl  B    BBBBB     BBB  :   BBB    fl  B    BTBBB     EBB     BBB 

•  •    a    • m~ '...'     'BBB"     :B   B::.   ::::::'.:     BB:  :   r  BJ.BC 

mm  ::  BBDBB   BBB  :      BRB   : "'   :  B  '..  .:  BBBBB'  B   p~   lB.r:2 

BUB   •:::::::  ""MB ., :.  :'..B;_:::     '"•""•  '*'. -H".'.,""  ' 

mrF  ::%*•%%*:":"•••*::"•••  ::  ':"-••  •"  •: 
BBBBB:  ::"•::•  '  ::'::...::     BBBBBBBBE 

"BBBBB*"  'SrS:  :%••":: .;'  'BBa*: ::  BBBBB  '::*"  "B-     •   .nn  •••nr 
.: '^:  :::::•;  :B.  •:  :BBB:  :  :  BBB   :::'.::::; 

Fig.  21,  illustrates  a  six-harness  twill  and  basket-rib 
combination,  which  is  a  novelty  and  should  be  thoroughly 
studied,  as  there  are  some  good  points  to  be  gained  from  it. 
Notice  how  the  cotton  stitch  or  plain  texture  is  used  to  pro- 
duce a  proper  cut-off  throughout  the  design;  also  how  the 
the  two  long  twills  join  with  others  at  the  repeating  of  the 
pattern,  as  we.ll  as  how  the  twills  join  on  the  basket-ribs. 
There  is  not  an  excess  number  of  risers,  or  sinkers,  in  any 
one  place  throughout  the  design. 

Fig.  22,  illustrates  another  style  of  basket  rib  combined 
with  a  creased  stripe  and  twill.  The  two  warp  threads  that 
weave  side  and  side,  on  the  back,  which  read  three  down 


?8  THE  SELF-INSTRUCTOR, 

and  one  up,  make  a  perpendicular  line  or  crease  after  the 
style  of  a  tricot  weave;  and  produces  a  handsome  effect  in 
combination  with  other  weaves.  It  will  be  seen,  at  the  cut- 
off of  the  twill  where  the  different  characters  are  inserted, 
that  there  are  five  risers  in  succession,  the  filling  way,  and 
that  to  all  appearances  this  would  cause  a  float  on  the  back 
or  a  miss-pick  effect  on  the  face  of  the  goods;  but  owing  to 
the  middle  thread,  as  shown  by  the  different  characters,  be- 
ing thrown  to  the  back  of  the  goods  in  the  process  of  weav- 
ing, it  does  away  with  this  bad  effect — as  appears. 
FIG.  22. 

•^•-•-•^-•••"•--••^•••.  :  :    "•••""•"-•' —^•••-3~filH 

iriillzij'iiri'rji. ":':•••:  ..III:.:  :..li:..»: 

B  •  •  •   mmm   m  mmm  :  ;  '•••  :  .  : 

••B  .  B  •   B   mmm     mam  m   mm*  ; 

B   •  :.  :.  :•••  :  .  :  ;•••  :  :  •••   B  :  : 

mmm  •  mm  ;  ;•  :  BBS  :  :  amm  -  m   mmm    amm  . a 

B   B  m  m  mmm  .  m  nmm    :  mmm   'm  'm  -   m~jm   mmm 
mmm::  m  m  m  m   mmm  :: :   mam  m   mmm  mm    msm  m 


: :  ...  :•••:  ::::ijiii: 

B  K  •••    BBB  ; 
•  .B  :. :  :...: ; 

•i5z"""...  5""i 


BB.   :  •••    .B.ECBBB    BBC      MBH       • 

m  mmm     mmm   :•  :•;:•>;.;•••;:::•;•:  :r.:^iii:::  III 
•••~~^_iiin~znizzi^izii:iz:zi..:r..^r-  :.i.:::inm 

Fig.  23,  illustrates  another  style  of  combination,  with 
the  crease  weave  used  to  divide  the  diagonal  and  rib  figures. 
This  style  is  quite  often  used  in  patterns  for  trouserings. 
The  diagonal  stripe  should,  however,  be  carried  out  some- 
what wider  than  the  basket-rib  stripe. 
FIG.  23. 

•^•^•^•^.".^•"•"Z.ZZ 

•::•:::•    •    •    •    B    .      .IB 

"  •:: 

II 


•• ™«  ••     -       ••       -     •  •  •  n       • •     ,•.     •     .•„•      •.  .•.  ~m.  .•       •     ..          •! 

B.._.:  :•••••    ••••.•    .-;•    •    mm  ;•    •    mm    mm 

•  M      ••      ..      •••••    •   •    H   B    H    •    •    •    •    n    •::•••• 

••••z.:  •••••    •    •   •      •    •   B    •   •   •    •    •    •    •    •    .   -  •   ' 


Fig.  24,  illustrates  a  diamond  pattern  composed  from 
what  appears  to  be  two  different  diagonals,  but  it  is  really 


TEXTILE   DESIGNING. 


only  one  or  the  same  weave,  transposed.  It  will  be  seen, 
that  the  upper  left  and  lower  right-hand  corners  are  formed 
by  the  same  sixteen-harness  diagonal,  and  that  there  are 
nine  risers  and  seven  sinkers  on  each  thread,  both  ways  of 
the  weave:  while  the  upper  right  and  lower  left-hand  cor- 
ners are  formed  in  a  similar  manner,  but  with  the  weave 
transposed  so  that  each  thread  has  nine  sinkers  and  seven 
risers.  This  transposition  is  necessary  in  order  to  make  a 
perfect  cut-off.  Weaves  not  equally  balanced  in  risers  and 
sinkers,  are  generally  arranged  in  this  manner  when  united 
to  form  diamond  patterns. 

FIG.  24. 


laSBnrSSEm 


m---:-  ••••  mm  y-mu\_'-  mm     EBBB  :; 
nnBBnnBBBnnnBBnuBBBBr 
nnBBnnBBBL:B:  :c::iBMnii!HMHi 
nnnnBBr"  BBI 
BniMnpBBWi 


'-±:-m-- 


•;  BBB:  BBBB:  :  :BB:  ;:  :t  :: 

Bam   BBBB  ::_::  :&BB:  ::  : 

~ 


_ 

:  :~:  ::  BBBB  :  ::   . 
BBBB  .......  BBBB'  BBB. 

"m   -  ;BBBB°BBB":  'BB 
'  ' 


aam  ::  ma  :   B     a  'BBBB:  'BBB  :  B 

BBBB'  "  BB     B  .....  BBBB'  BBB    HB 

UBBBBC:  •••:•':!:::  .MrrrBBB:  :BBB^:-'BBn 
"  '  '   '    BB   BB  ::  :: 

B  .....  BB 

:  :  BB  :  :  BBBB 
:  :BBnnnnBBBBn 
'BB.  :  :  :  BBBB:  'B 


BBBB  '  ' 

BBCB  :: 

BBB 


BB       BBB 


We  will  now  call    the    reader's  attention  to  Fig.  25, 

which  illustrates  the  first  three  bars  or  picks  of  a  fancy 
diagonal,  composed  in  the  following  manner: 

56  7 


In  connection  herewith,  we  illustrate  a  four,  six  and  an 


80  THE   SELF-INSTRUCTOR, 

eight-harness  twill,  numbered  5,  6  and  7,  respectively.  Now 
observe  that  the  first  bar  of  Fig.  25,  is  the  same  as  that  of 
weave  5;  the  second  bar  is  the  same  as  the  first  of  weave  6; 
and  the  third  bar  is  the  same  as  the  first  of  weave  7;  each 
instance  the  bars  being  carried  out  to  twenty-four  threads 
or  harnesses  in  width.  Now  to  complete  the  figure,  con- 
tinue thus:  take  the  second  bar  of  each  weave,  in  their  res- 
pective order,  and  set  them  in  the  same  order  under  those 
of  the  figure;  then  take  up  the  third  bar  of  each  weave, 
then  the  fourth,  etc. ;  continue  setting  them  under  those  in 
the  figure  until  it  is  seventy-two  bars  in  length.  This  will 
complete  the  figure  and  give  us  a  large,  fancy  diagonal.  In 
this  operation,  weave  5  had  to  be  repeated  six  times;  weave 
6,  four  times;  and  weave  7,  three  times,  both  ways,  before 
all  three  weaves  would  repeat  at  the  same  point  as  started 
on.  Hence,  it  will  be  seen  that,  in  combining  two  or  more 
weaves  of  different  sizes,  into  continuous  diagonals,  they 
must  each  be  carried  out  to  that  point  where  they  will 
repeat  at  the  same  time  or  place  of  starting.  On  this  prin- 
ciple of  composing  diagonals,  many  beautiful  and  compli- 
cated patterns  are  made  for  worsted  fabrics;  in  fact,  there 
is  no  limit  to  them. 

We  might  continue  this  subject,  and  illustrate  many 
other  combinations  if  we  deemed  it  necessary,  but  we  be- 
lieve a  sufficient  number  and  variety  have  been  given,  to 
enable  the  beginner  to  form  a  good  idea  in  this  branch  of 
designing,  so  that  by  a  little  study  and  practice,  he  will  be 
able  to  comprehend  its  scope,  as  set  forth  in  the  first  para- 
graph. 


TEXTILE   DESIGNING.  81 


CHAPTER  XIV. 

THE  ANALYSIS  OF  DOUBLE  WEAVES — THEIR  CONSTRUCTION 
AND    STITCHING. 

This  is  a  subject  requiring  much  study  and  practice  in 
weaving,  as  it  were,  on  paper;  in  other  words,  the  uniting 
of  weaves  in  various  ways  to  learn  the  result  or  effect.  To 
be  able  to  answer  the  following  questions,  after  inspecting 
or  looking  through  a  double  weave,  is  a  matter  of  no  small 
importance  to  both  the  professional  and  amateur,  in  these 
days  of  modern  competition  in  the  profession. 

First. — What  two  weaves  are  used  in  the  formation  of 
this  double  weave? 

Second. — Which  one  of  them  weaves  the  face  of  the 
fabric,  and  which  one  the  back? 

Third. — Are  they  properly  stitched  together?  If  so,  by 
the  face  weave,  back  weave,  or  both? 

Fourth. — How  are  we  to  know  that  this  double  weave 
is  correct  in  every  respect,  without  trying  the  same  in  a 
pattern  loom? 

The  practical  designer  ought  to  be  able  to  answer  these 
questions  promptly  and  correctly,  after  looking  the  double 
weave  through.  We  are  sorry  to  say,  however,  from  per- 
sonal observations,  we  know  there  are  those  who  profess  to 
have  this  power,  that  are  more  or  less  deficient  in  the  mat- 
ter. It  is  for  the  benefit  of  those  professed  designers,  and 
particularly  beginners,  that  this  chapter  is  intended. 

To  begin  the  subject,  we  will  take  for  illustration, 
Fig.  1,  which  represents  a  double  weave  composed  of  the 

11 


82  THE   SELF-INSTRUCTOR, 

regular  eight-harness  twill — four  up  and  four  down — for 
the  face:  and  the  regular  four-harness  twill — two  up  and 
two  down — for  the  back.  These  weaves  are  tied  or  stitched 
together  by  the  back  filling  threads;  in  other  words,  it  is 
called  a  ''filling  tie/'  that  is  to  say,  the  back  filling  threads 
are  brought  up  into  the  face  of  the  fabric,  by  passing  over 
certain  face  threads  of  the  warp,  one  at  a  time  in  regular 
order.  It  will  be  observed,  on  looking  at  this  double  weave 
(Fig.  1),  that  we  have  numbered  the  bars  or  filling  threads 
at  the  left  from  1  to  16,  in  rotation;  also  that  the  harnesses 
or  warp  threads  are  numbered  at  the  bottom  from  1  to  16y  in 
rotation. 

FIG.  1.  FIG.  2.  FIG.  3. 

T2nmr.Kimnunu  }  Qnnn:  ^•'^•^•^•^Q 


BliiBOQp 
aaaaa    a    BBaBB  7  lE.r:.'  a  :; ; 


IBB.     B     BBBBB  9     m  •  "•• 

B  •.•-.  i3.nn:  •   .   • 

i.  isnn         :    ..  •:::•::•:•: 


We  will  now  analyze  this  weave  for  the  purpose  of 
demonstrating  its  construction,  as  well  as  to  see  if  the 
above  remarks  prove  true.  To  do  this,  proceed  as  follows: 
Take  the  barsr  or  face  filling  threads,  numbered  ly  3,  5,  7, 
9,  11,  13  and  15,  and  set  them  down  under  each  other,  in 
their  numeral  order,  the  result  is  Fig.  2.  From  this  figure, 
take  the  harnesses,  or  face  warp  threads,  numbered  1,  3,  5, 
7,  9,  11,  13  and  15,  and  set  them  down  along  side  of  each 
other,  in  their  numeral  order,  the  result  is  Fig.  3,  which  is 
the  eight-harness  twill,  and  face  weave. 

FIG.  4.  FIG.  5.  FIG.  6. 

2  Bn<y  :•••••::•:•••••  r:n..ar..  B   BBBBBB 

,'  ..s™:  SMSSSS|P=  .:•  .r  ..:;:..• 


•••;:•::. ••••: 

•••MQO~  ....  : ::  a  a    :  ;•• 


Now  take  the  bars,  or  back  filling  threads,  numbered 
4,  ('),  8,  10,  12,  14  and  10,  and  set  them  down  under  each 


TEXTILE   DESIGNING,  83 

other,  in  their  numeral  order,  the  result  is  Fig,  4.  From 
this  figure  take  the  harnesses,  or  back  warp  threads,  num- 
bered 2,  4,  6,  8,  10,  12,  14  and  16,  and  set  them  down  along 
side  of  each  other,  in  their  numeral  order,  the  result  is 
Fig.  5,  which  is  the  four-harness  twill,  and  back  weave; 
also  the  harnesses,  or  face  warp  threads,  numbered  1,  3,  5, 
7,  9,  11,  13  and  15,  and  set  them  down  along  side  of  each 
other,  in  their  numeral  order,  the  result  is  Fig.  6,  which 
illustrates  the  method  or  plan  of  tying. 

If  a  "warp  tie"  is  desired,  that  is  to  say,  the  back  warp 
threads  are  brought  up  into  the  face  of  the  fabric,  passing 
over  the  face  filling  threads,  one  at  a  time  in  succession, 
the  weave  would  then  be  as  shown  in  Fig.  7, 

FIG.  7.  FIG.  8. 

i  nnn • « •  v:  :M'inn  i  nnnnnn»t«n»n»pn 

!§£maidnnK] 

•  •QBOif 


6  • 

7  m*m  : 
•••:: 


Q  n  ;;  : 

a    mamma  ;•:;•••••:  ; 
i:«nrrr.  :ri  :.  ::  ::  :•»•:::•£! 
!-!•••••  :•"'•••••;:•:: 
.....       ' 


FIG.  9.  FIG.  10. 

6  ••«••:;•;  ;BHM»:  iarl 

foSSBSsssKSBKK 
i  :::::".:::::"|. 

By  analyzing  Fig.  7,  the  same  as  just  demonstrated 
with  Fig.  1,  we  find  Fig.  8 — in  place  of  Fig.  2, — which 
contains  Fig.  3,  and  also  Fig.  9  which  illustrates  the  tying 
method.  Then  again,  we  find  Fig.  10 — in  place  of  Fig.  4, — 
which  contains  Fig.  5. 

If  a  "warp  and  filling  tie"  were  desired, — bringing  both 
of  the  above  methods  into  operation  at  the  same  time — we 
would  then  have  Fig.  11.  From  the  analysis  of  this  figure, 
we  get  Fig.  8,  which  contains  Figs.  3  and  9;  and  again,  we 
get  Fig.  4,  which  contains  Figs.  5  and  6. 


THE   SELF-INSTRUCTOR, 


Now  we  will  proceed  to  find  and  lay  out  this  double  ty- 
ing plan  in  its  full  and  original  form.  To  do  this,  we  will 
take  Fig.  11,  and  proceed  as  follows: 

FIG.  11.  FIG.  12. 


;'.•      •      - 
B      •••Bl 


vmmmmmmmmmm 
mmammma*    mi 

......... 


••••B   •  mm 


Commencing  with  the  first  pick,  which  is  a  face  thread, 
we  set  it  down  as  all  sinkers  except  where  the  tie  comes  on 
the  eighth  harness,  we  mark  that  as  a  riser;  then  taking 
the  second  pick,  which  is  a  back  thread,  we  set  it  down  as 
all  risers  except  where  the  tie  comes  on  the  third  harness. 
we  mark  that  as  a  sinker;  in  this  manner  we  continue  with 
each  of  the  sixteen  filling  threads  in  rotation,  the  result  is 
Fig.  12  which  shows  the  whole  tying  plan,  full  size,  both 
filling  and  warp  methods. 

FIG.  13.  FIG.  14.- 

3o» 
>: 


l-BI 

:: 


From  Fig.  12,  we  will  take  the  bars  1,  3,  5,  7,  9,  11,  13 
and  15,  and  set  them  down  under  each  other,  in  their  nu- 
meral order,  it  will  give  us  Fig.  13,  from  which  we  will 
take  the  harness  numbers  2,  4,  6,  8,  10,  12,  14  and  16,  and  set 
them  down  along  side  of  each  other,  in  their  numeral  order, 
we  obtain  Fig.  9.  Now  we  will  take  the  remaining  bars 
or  filling  threads  2,  4,  6,  8,  10,  12,  14  and  16,  and  set  them 
down  under  each  other,  in  their  numeral  order,  the  result  is 
Fig.  14,  from  which  we  will  take  the  harness  numbers  1,  3, 
5,  7,  9,  11,  13  and  15,  and  set  them  down  along  side  of  each 
other,  in  their  numeral  order,  we  obtain  Fig.  6.  By  these 


TEXTILE  DESIGNING.  85 

figures  it  will  be  seen,  that  each  demonstration  has  proved 
itself  true  in  every  point. 

Fig.  15,  illustrates  the  two  original  _JT5f-  15- 

weaves,  Figs.  3  and  5  combined,  but  not  kniE"  ••••!••• 

tied  together.     If  we  were  to  set  a  loom  rn^mm  •     •:  •••••: 

in  operation,  containing  a  warp  drawn  JJfBJI 

in  straight    across    sixteen    harnesses,  S5SE 
with  the  harness  chain  built  thus,  the 

result  would  be  two  separate  pieces  of     Sr*"*"" 

i   .LI     i  •  .    i     .  ±-i          t  •••••:• 

cloth,  but  united  at  the  selvage  only.          giig^ »  • 

The  analysis  of  any  double  weave 
may  be  conducted  on  the  principle  already  described,  and 
should  there  be  any  mistakes  in  either  of  the  component 
weaves,  or  tying  plans,  such  mistakes  ,can  be  easily  detected 
by  the  deficiency  or  excess  of  risers,  or  sinkers,  as  the  case 
may  be,  which  can  be  rectified  on  paper  before  building  the 
loom  chain;  thus  saving  time,  trouble  and  annoyance  of 
finding  such  mistakes  in  the  cloth,  after  the  loom  has  been 
put  in  operation. 

Should  the  reader  fail  to  comprehend  our  meaning,  we 
would  advise  the  following:  Take  a  sheet  of  design  paper, 
on  it  copy  off  all  the  above  figures  in  their  numeral  order, 
at  the  same  time  carefully  read  the  directions  which  accom- 
pany them;  in  this  manner  the  reader  will  more  readily  un- 
derstand our  meaning — it  will  all  seem  to  come  to  him,  as 
it  were,  at  once. 

To  assist  the  beginner  further  in  this  important  branch 
of  designing,  we  will  illustrate  some  of  the  most  practical 
double  weaves  in  use  at  the  present  day,  and  the  different 
methods  of  stitching  or  tying  them  together. 

FIG.  16.  FIG.  17.  FIG.  18.  FIG.  19. 


PR 


*         ammm  •::•::•••• 

—  tc  u  —  it  - -i  X  —  t~  ~  —  i-  ~.  -i  x 

Figs.  16,  17,  18  and  19,  represents  the  regular  four-har- 
ness cassimere  twill,  both  the  face  and  back  weave.    Fig.  1C 


si; 


THE   SELF-INSTRUCTOR, 


shows  the  filling  tie;  Fig.  17,  shows  the  warp  tie;  Fig.  18, 
shows    both    warp    and  filling  ties;  and  Fig.   19,  shows  a 
broken  warp  and  filling  tie. 
FIG.  20.  FIG.  21.  FIG.  22.  FIG.  23. 

il  1.. 

jddpdd  :UL:::M:":      B:  :•"•":"":".' ; : 

Odqdnna»n      •^•nd.idn^pHd      B»>B^nnannciBQ  . :. ; :;;:~.  : 

Figs.  20,  21,  22  and  23,  represents  the  regular  six-harness 

twill,  both  face  and  back.     Fig.  20,  shows  the  filling  tie; 

Fig.  21,  shows  the  warp  tie;  Fig.   22,  shows  both  warp  and 

filling  ties;  and  Fig.  23,  shows  a  broken  warp  and  filling  tie. 

FIG.  24.  FIG.  25. 

BdtHQL-lLJd 
BBBdOdB 

:: :  :: :  ::  ;•  w  "B"iB~nut  :: ::  •'  :•'  ~B»B 

BD^.  B  •:;:....BBBB  B    •    B    a    •••••••• 

idBPB^Bndnan  : ;; :: ::  •  '•::•»•' :: .:  :nn 

IdMuBHd  '.  ''"''M'  'M'  '•»•   "LJ 

SBSBSSffigB  SS  5!5"""  ' 

~    ••••Maonin  •'•••••••••;  ;•  '•  : 

•••••••:•_•_•_•• 

FIG.  26.  FIG.  27. 

:.....::.:: 

§BSB:BBS5^Sy 

idd»d«n«*H:  :n  nnmnMnBaMnnd 

mauaummmummm  •  •  '•  •":•••••••• 

ir"  dd::~«: '•"•»•::: 

!••••  -v  •    •    mamammamK 

n:  :•::•  '•:  :B-J. 
............ 

.:  :•••••••••        • 

inddunnnBd  BE.  B:  ;•  •  :  ":.'i 

.BBiggsiHiBBS  i;i"."B "  i  s. 

Figs.  24,  25,  26  and  27,  represents  the  regular  eight- 
harness  twill,  both  face  and  back.  Fig.  24,  shows  the  filling 
tie;  Fig.  25,  shows  the  warp  tie;  Fig.  26,  shows  both  warp 
and  filling  ties;  and  Fig.  27,  shows  a  broken  warp  and 
filling  tie. 


TEXTILE   DESIGNING.  87 

Iii  originating  these  double  weaves,  we  placed  each 
single  weave  in  such  a  position  that  the  twills  were  made  to 
come  directly  over  and  under  each  other  as  near  as  possible. 
This  is  a  point  which  should  be  adhered  to,  so  far  as  pos- 
sible, in  the  formation  of  all  such  weaves,  as  it  makes  it 
much  more  convenient  for  tying  them  together  in  a  proper 
manner. 

FIG.  28.  Ij^M.  FIG.  30. 

:•"  "•_:•» 
•    •   mm 


•••-•-••••*••  HHBI 

•      "     •      BEBBBB  BBB 

•TM:  :•#::::  z*». 

B      B      EBBBB  BB    '.  B      B 

s  i;»»": 

-tiic-^=-.-.x=;S=t'3  BZBT 

:ES^ 

•nil 


Figs.  28,  29  and  30,  are  respectively  the  above  three 
twills  (four,  six,  and  eight-harness),  and  will  weave  the 
same  fabrics  as  those;  but  in  originating  these  latter  figures 
the  single  weaves  were  combined  from  a  different  point  or 
position,  hence -the  difference  in  their  appearance.  The  ob- 
ject of  these  figures  is  to  demonstrate  that,  there  is  a  right 
and  wrong  way  of  putting  together  two  single  weaves  for 
the  purpose  of  producing  a  double  weave;  not  because  it 
makes  any  difference  in  the  weaving  or  appearance  of  the 
fabric,  but  that  it  does  make  a  great  difference  in  the  man- 
ner of  stitching  them  together.  In  the  former  sets  of  fig- 
ures it  will  be  observed  how  systematic  the  stitching  is  ac- 
complished, and,  in  accordance  with  rules  previously  laid 
down;  while  in  this  latter  set  there  is  no  such  system  to  fol- 
low. In  the  former,  each  place  of  stitching  is  completely 
surrounded  by  either  sinkers,  or  risers;  in  the  latter,  it  takes 
both  sinkers  and  risers  to  surround  each  stitch  or  tie — tie 
where  you  will,  the  result  will  be  the  same. 

Figs.  31  and  32,  represents  a  double-pick  face  (two  and 
two,  warp  and  filling)  with  a  cassimere-twill  back,  show- 
ing two  methods  of  tying. 

Figs.    33  and  34,  represents  a  six-harness  basket  face 


88 


THE   SELF-INSTRUCTOR, 


(three  and  three,  warp  and  filling)  with  a  six-harness  twill 
back,  showing  two  methods  of  tying. 
FIG.  31.  FIG.  32.  FIG.  33.  FIG.  34. 

•  ••'...::•••• 
a    ••• 


™= 


....... 


E: 


.. ..  . 
3tun 


gm;:nnE 
»t2*i** 


Figs.  35  and  36,  represents  an  eight-harness  basket  face 
(four  and  four,  warp  and  filling)  with  an  eight-harness  twill 
back,  showing  two  methods  of  tying. — See  Sample  No.  5, 
made  from  Fig.  36. 

FIG.  35.  FIG.  36. 

nnnnnnnnBnBDBnB^  nronnnnnBnBnB™Bn 

'   !•••••• 

:.:.:;:. 


•  EMHB"  "•»"" 

SnBBBBBBBBi  IB'  B 
•  :•«•:.:: 


B     •     .. 
P 


Fig.  37,  represents  a  double-pick  weave,  both  face  and 
back. 

Fig.  38,  represents  a  six-harness  basket  weave,  both 
face  and  back. 

Fig.  39,  represents  an  eight-harness  basket  weave,  both 
face  and  back. 


FIG.  37. 


FIG.  38. 


FIG.  39. 


•'n.n'BnBBBBBB 
B-  ••;-••»"- 


•    • 

• 

.' 


B 


BBBBBBBB 
B'  'B'  'B.'   B 

:BBBBBBBI 

'BBBBBBBB 
:r::_::::  •: ::.:~: 


BB     B     B 


nnnnnnn 
•oaa    •    .    • 

-•::: :     i:     : ,: : 

••••DBnBDBn 
ffi^oD^S^SSZE-,?. 


If  it  should  be  desired  to  give  these  weaves  a  closer  ty- 
ing, insert  a  stitch  between  the  present  ones  in  rotation. 


TEXTILE   DESIGNING. 


Figs.  40,  41  and  42,  represents  respectively  the  same  as 
the  three  preceding  figures,  but  combined  from  a  defferent 
standpoint,  as  described  under  Figs.  28,  29  and  30.     Note 
the  difference  in  tying. 
FIG.  40.  FIG.  41.  FIG.  42. 


ZZZB 

••••••• 

pa  DOC 


5  SES? 


•••I! 


:;SE 


™ 

BBBBBBBB 


BBBBBBBH 


Fig.  43,  represents  the  regular,  six-harness  twill  face 
with  the  three-harness  (two  up  and  one  down),  twill  back. 

Fig.  44,  represents  the  regular,  six-harness  twill  face 
with  the  three-harness  (two  down  and  one  up),  twill  back. 

Fig.  45,  represents  the  regular,  six-harness  basket  face 
with  the  three-harness  (two  up  and  one  down),  twill  back. 

Fig.  46,  represents  the  regular,  six-harness  basket  face 
with  the  three-harness  (two  down  and  one  up),  twill  back. 
FIG.  43.  FIG.  44.  FIG.  45.  FIG.  46. 


Dafl     BBBBB 

~ 


•      B< 

•  ••••! 


:•• 


Only  one  method  of  tying  has  been  illustrated  in  these 
last  four  figures,  which  we  consider  is  sufficient  owing  to 
the  close  texture  of  the  back  weave;  but  should  more  tying 
be  desired  in  some  cases,  increase  the  number  of  stitches  as 
previously  illustrated  in  the  twill  weaves. 

If  it  should  be  required  to  reverse  the  position  of  any 
one  of  these  double  weaves,  Figs.  31,  32,  33,  34,  35,  36,  43, 
44,  45  and  46,  that  is,  to  throw  the  face  weave  to  the  back, 
and  the  back  weave  to  the  face,  turn  such  figure  one-fourth 
way  round,  either  to  the  right  or  left,  and  build  the  loom 

12 


90  THE  SELF-INSTRUCTOR, 

chain  with  the  figure  remaining  in  that  position.  This  will 
turn  the  position  of  the  weave  so  that  the  working  of  the 
tilling  threads  as  now,  will  then  represent  the  working  of 
the  warp  threads;  and  the  working  of  the  warp  threads  as 
now,  will  then  represent  the  working  of  the  filling  threads. 
We  will  now  close  this  chapter,  after  illustrating  the 
following:  Figs.  47,  48,  49  and  50,  represents  four  different 
movements  for  weaving  two  pieces  of  plain  flannel,  at  the 

FIG.  47.  FIG.  48.  FIG.  49.  FIG.  50. 

Mnnn  annn  man  rrann 

sese        SKB         sy^s        s-  • 

•    ••  ••    •  mam  Sl^S 

same  time,  one  above  the  other.  Hence,  each  one  of  those 
weaves  will  produce  the  same  result.  It  is  on  this  principle 
that  double-width  flannels  are  woven  in  single- width  looms. 


CHAPTER  XV. 

THE   CONSTRUCTION   OF  TRIPPLE   OR  THREE-PLY  WEAVES. 

This  is  a  class  of  weaves  which  are  very  little  used  in 
comparison  with  those  of  the  single  and  double  classes. 
Perhaps,  if  better  understood  by  designers  of  fabrics  for 
wearing  apparel,  this  class  of  weaves  would  be  brought  in- 
to a  more  general  use  in  the  manufacture  of  certain  heavy 
fabrics. 

Tripple  or  3-ply  weaves,  are  those  having  three  weaves 
united  into  one  in  such  a  manner  that  but  one  fabric  is 
produced,  as  it  were,  in  the  operation  of  weaving.  Yet,  in 
reality,  this  one  fabric  is  composed  of  three  fabrics  tied 
or  stitched  together  in  such  a  manner,  during  the  process  of 
weaving,  that  they  really  represent  but  one  fabric. 

The  term  "stuffed"  is  quite  often  used  in  preference  to 


TEXTILE   DESIGNING. 


"tripple"  or  "3-ply,"  and  quite  appropriately  too,  as  the  prin- 
cipal object  in  using  this  class  of  weaves,  is  for  adding 
weight  or  cheapness  to  the  fabric  by  stuffing  into  its  centre 
a  cheaper  grade,  or  another  class  of  stock;  the  face  and 
back  fabrics  completely  covering  from  view  the  middle  fab- 
ric. On  this  principle  of  weaving,  a  cotton  fabric  can  be  in- 
serted between  two  all-wool  fabrics  —  the  three  being  stitch- 
ed together  as  one,  —  so  that  no  one  could  detect  it  without 
unravelling  the  same.  This  method  of  weaving  is,  there- 
fore, adapted  to  the  manufacture  of  chinchillas,  worsted 
cloakings,  overcoatings,  etc. 

In  order  to  demonstrate  this  subject  in  a  comprehensive 
manner,  in  the  construction  of  the  different  illustrations  or 
figures,  it  will  be  necessary  for  us  to  use  the  terms  "face," 
*  'middle"  and  "back,"  a  great  many  times  in  connection 
therewith;  hence,  we  desire  the  reader  to  keep  in  mind,  the 
following  explanations:  That  these  terms  apply  to  the  face 
weave,  the  middle  weave  and  the  back  weave,  and  will  be 
represented  at  the  top,  and  at  the  side  of  these  illustrations, 
by  the  figures  1,  2  and  3,  respectively.  That  is  to  say,  the 
figure  1,  will  represent  the  "face;"  the  figure  2,  will  repre- 
sent the  "middle;"  and  the  figure  3,  will  represent  the 
"back." 

We  will  now  illustrate  the  manner  of  laying  out  and 
constructing  a  tripple  weave,  to  consist  of  the  four-harness 
cassimere  twill  on  both  the  face  and  back,  and  the  two-har- 
ness cotton  or  plain  weave  in  the  middle.  This  manner  of 
procedure,  when  once  thoroughly  understood,  will  enable 
the  beginner  to  construct  a  tripple  weave  with  any  three 


123123123123 


(3) 

m 


single  weaves  he  may  choose  to  use.     As  will  be  seen,  we 
have  marked  the  weaves  named  above,  (1,  2,  3,)  and  placed 


THE   SELF-INSTRUCTOR, 


them  in  the  position  that  they  are  to  occupy  in  the  tripple 
weave.  At  the  right  of  these  weaves,  we  have  illustrated 
what  is  to  represent  a  piece  of  design  paper,  marked  at  the 
top  and  one  side,  1,  2,  3,  in  succession.  On  this  design 
paper,  we  will  proceed  to  lay  out  and  construct  the  tripple 
weave.  In  doing  this  work,  it  should  be  borne  in  mind  that 
each  single  weave  is  to  occupy  the  positions  on  the  design 
paper  in  line  of  the  figure  which  corresponds  with  that  of 
the  weave  being  laid  out,  and  no  other,  both  ways  of  the 
paper. 

FIG.  2. 


FIG.  1. 

123123123123 


FIG.  3. 


123123123123 

i  nnnnanpppni: 

pf 


3  nnnnnnnnnninn 


123123123123 

1  ppppnppppppn 

2  i 
3 

1  nc 

2  ppn 

3PP1 

i  PPE 


. 
3  pppppppppppp 


FIG.  4. 


123123123123 


FIG.  5. 

123123123123 

3  PC 


Fig.  1,  illustrates  the  face  weave  laid  out  in  its  respec- 
tive order. 

Fig.  2,  illustrates  the  middle  weave  laid  out  in  its  res- 
pective order. 

Fig.  3,  illustrates  the  back  weave  laid  out  in  its  respec- 
tive order. 

Fig.  4,  illustrates  the  face  and  middle  weaves  combined 
in  their  respective  order. 

Fig.  5,  illustrates  the  face,  middle  and  back  weaves 
combined  in  their  respective  order.  This  figure,  as  it  now 
stands,  would  weave  a  single  fabric  of  a  filling  face,  diago- 
nal appearance.  Hence,  another  movement  must  be  made 
that  will  separate  these  textures,  and  allow  each  one  to 


TEXTILE  DESIGNING.  93 

work  independent  of  the  two  others.  In  other  words,  when 
a  filling  thread  is  woven  into  either  the  face,  middle,  or 
back  fabric,  the  harnesses  which  weave  that  fabric  must 
work  independent  of  the  others.  This  will  be  seen  by  ex- 
amining Figs.  6  and  7,  particularly  the  latter  one. 
FIG.  6.  FIG.  7.  FIG.  8. 

123123123123         123123123123         123123123123 

1  M:_::  /  .  :.      ;  •«":  :          i  •nnnn: 

2  MB:  "M:  •;  :••::•:  :i:  2  ••::•: 


1  »:  :  :•-':  :  i  BLJ: 

2  •:;•  ••   •:     ••:  :  2  •n 
'•'•       m  ::  •    ;  ;.  .;  ;:  ;  3  •• 

......       ''  •  • 


•  H  3  •••••nmnvm  s  •••••:••::; 

'  i  '' 

«L::::BBa  2 

.  .  BB    HH  3  • 

......  •  :  '•'  •;  •  i  nncM'  y  "•:  in  i  n 

2  ••::••":••   •:    ;  z  mm^u~  um^.f^n  2  • 

'••  :    .  :.-•...  Bi:i~n  3  ••••«•••••  3  • 

"       'n::  i  nc        ' 


3  :  :  :  »       •  •  HBBBLBBBBB  ".  EB    BB    BB BBB B 

Fig.  6,  illustrates  the  movements  of  the  face  and  middle 
textures  completed  and  separated  the  filling  way  only. 

Fig.  7,  illustrates  the  movements  of  all  three  textures 
completed  and  separated,  both  filling  and  warp  ways.  If  a 
harness  chain  were  built  from  this  figure,  and  attached  to 
a  loom  operating  twelve  harnesses  with  a  warp  drawn  in 
straight  across,  it  would  produce  three  separate  fabrics  con- 
sisting of  a  cassimere  twill  on  the  top  and  bottom  with  a 
plain  flannel  in  between  them — the  three  pieces  being  united 
by  the  selvage  only.  Now  let  us  look  closer  into  the  con- 
struction of  this  Fig.  7.  Looking  at  it  the  filling  way,  we 
find  that  the  face  picks  or  bars  1,  1,  1,  1,  remain  the  same 
as  in  the  former  figures,  passing  over  all  but  two  of  the 
warp  threads.  The  bars  2,  2,  2,  2,  show  an  increase  of  four 
risers,  all  of  which  are  marked  over  the  face  weave;  thus 
forcing  the  filling  to  pass  under  all  of  the  face  warp  threads 
and  over  all  of  the  back  warp  threads,  completely  enclosing 
this  filling  between  the  face  and  back  fabrics;  or,  in  other 
words,  allowing  it  to  form  a  middle  fabric  independent  of 
the  two  others.  The  bars  3,  3,  3,  3,  show  an  increase  of 
eight  risers,  all  of  which  are  marked  over  both  the  face  and 
middle  weaves;  thus  forcing  the  filling  to  pass  under  all  but 
two  of  the  warp  threads,  and  they  assist  in  weaving  the 
back  fabric.  Looking  at  it  the  warp  way,  we  find  that  the 
face  warp  works  over  all  but  two  of  the  filling  threads;  the 


94  THE   SELF-INSTRUCTOR, 

middle  warp  works  the  same  both  ways;  and  the  back  warp 
works  under  all  but  two  of  the  filling  threads. 

Next  in  order,  is  the  uniting  or  tying  of  these  fabrics 
together  in  such  a  manner  that,  when  put  into  operation, 
they  will  produce  one  combined  fabric;  in  other  words,  the 
three  single  fabrics  will  be  united,  and  appear  as  one. 

Fig.  8,  illustrates  the  completed  tripple  weave,  with  the 
tying  as  just  described.  On  examining  into  this  principle 
of  tying  we  find  that,  the  first  tie  is  made  by  raising  a  mid- 
dle warp  thread  so  that  a  face  filling  thread  passes  under  it; 
the  second  tie,  by  raising  a  back  warp  thread  so  that  a  mid- 
dle filling  thread  passes  under  it;  the  third  and  fourth  ties 
are  made  in  the  same  manner  respectively.  The  first  and 
third  ties,  unites  or  binds  the  face  to  the  middle  weave,  and 
the  second  and  fourth  ties,  binds  the  back  weave  to  the  mid- 
dle; hence,  it  will  be  seen  that,  the  middle  weave  is  the 
basis  of  tying  for  both  the  face  and  back.— See  Sample  No. 
6,  made  from  this  weave. 

We  do  not  wish  the  reader  to  understand  that  it  were 
necessary  to  go  through  with  all  of  the  above  different 
forms  of  construction,  in  order  to  lay  out  and  construct  this 
tripple  weave,  as  such  incomplete  figures  are  only  intended 
to  illustrate  our  meaning  in  a  better  manner  than  could  be 
otherwise  done.  Fig.  8,  contains  all  of  the  former  figures 
consolidated,  and  is  in  itself,  the  only  one  necessary  to  have 
made  were  the  principles  previously  understood.  Hence, 
we  will  not  enter  so  fully  into  the  details  with  the  commiiig 
figures  as  done  with  that  of  the  present  one. 

FIG.  9. 

(1)  123123123123 

ssee  ismygsB 

BBM  (2)  mmmmmnm     ... 

•HIM 


•n  2  inSi 

nga  XON  me      r~M»":I~3 


••   •      !•    I 

-:  MM:  :MMBMMBBHn 


i  n 
• 
•  a 


•i  M      ••   •  :  •• » 

'      IMMMMM 


Fig.  9  is  composed  of  the  three  weaves  represented,  con- 
sisting of  a  double-pick  face,  plain  middle,  cassimere  back. 


TEXTILE   DESIGNING. 


95 


Fig.  10  is  composed  of  the  three  weaves  represented, 
consisting  of  the  four-harness,  broken  twill  face  (one  down 
and  three  up),  plain  middle,  and  cassimere  twill  back. 

Fig.  11  is  composed  of  the  three  weaves  represented, 
consisting  of  the  four-harness,  twill  face  (one  down  and 
three  up),  cassimere  twill  middle,  and  the  back  the  same  as 
the  face  weave  reversed. 


(1) 
•  • 


FIG.  10. 


(2) 


::. 

i 


(3) 

•HCM 
••:.:;j 

maw 


(l) 

m"m'm 

HSS  (2) 

SSBS 


FIG.  11. 


•••••••a 

: :   B  y 
ma      mm* 

Bfl      ••      HBBBBB 


123123123123 

nncBnuMnnMnn 

mm+mucmncmmn 


Sam 
men 
B*B     : 


:M:J:  *•::••:-: 
mm    am    mmm 


Fig.  12  is  composed  of  the  three  weaves  represented, 
consisting  of  a  cassimere,  broken  twill  face,  the  four-har- 
ness, broken  twill  middle  (one  up  and  three  down),  and  the 
cassimere  twill  back. 

Fig.  13  is  composed  of  the  three  weaves  represented, 
cansisting  of  a  plain  face,  cassimere  broken  twill  middle, 
and  a  cassimere  twill  back. 


(1) 

•ZMH 

§•:::  : 
mm 
cmm 


(3) 


FIG.  12. 

123123123123 

i  •nnnanBnnnnn 

••*•         B         BBB 

•  :: 

iye 

inn 
•2  mcc~mm:~m  >M::::I 

'A  mm     mmmmmmmy 


(1) 

•na 
nmn 

Mna 
CMIUM 

~ 


BB     : 

?;•;. 


From  the  preceding  illustrations,  the  reader  will,  no 
doubt,  obtain  a  pretty  good  idea  of  the  construction  of  trip- 
pie  weaves,  particularly  those  of  the  smaller  class.  We 
will  now  illustrate  some  of  the  larger  classes  (within  the 
limit  of  twenty-four  harnesses)  without  showing  the  weaves 
from  which  they  were  composed,  but  will  name  such  weaves 
as  well  as  the  positions  which  they  occupy.  We  shall,  how- 
ever, confine  ourself  to  weaves  of  the  common  class. 


THE  SELF-INSTRUCTOR, 


Fig.  14,  represents  the  common  six-harness  twill  for 
the  face,  the  three-harness  twill  (one  up  and  two  down)  for 
the  middle,  and  the  six-harness  basket  for  the  back. 

Fig.  15,  represents  the  three-harness  twill  (two  up  and 
one  down)  for  the  face,  the  six-harness  basket  for  the  mid- 
dle, and  the  common  six-harness  twill  for  the  back. 

FIG.  14.  FIG.  15. 

Ucncn'"  _z  ~i 
3  ~ir±M:ii 


•  BIB 

IBB    By 


•B      DBBBBI 


BB    B     : 
BB    BB 


•  ••»•••     MB     BB      BBB 


:. 

E 

. 


r 

• 
B-- 

•  •«• 
amm 


Fig.  16,  represents  the  six-harness  basket  for  the  face, 
the  common  six-harness  twill  for  the  middle,  and  the  three- 
harness  twill  (two  up  and  one  down)  for  the  back. 

Fig.  17,  represents  the  common  six-harness  twill  for  the 
face,  middle  and  back;  each  twill  commencing  on  the  same 
point,  so  that  the  face  and  middle  twills  lay  directly  under 
the  face  twill. 

^FiG._16.  _  FiG^K.^ 

";:.,:..:.  ::;:.:.»  h.h. 

••••  ••*"•-          •  _ 

B      BB      B         •  BB      HB      •         B         •         BB 


•          •  Ml   • 

:.s: 


IBBBBBBBBBBBB 


:. :. : 


Fig.  18,  represents  the  common  four-harness  twill  for 
the  face,  the  regular  double  pick  (two  and  two)  for  the  mid- 
dle, and  the  common  eight-harness  twill  for  the  back.  This 
tripple  weave  can  be  reduced  and  woven  on  eighteen  har- 
nesses, if  desired. 


TEXTILE   DESIGNING. 


97 


Fig.  19,  represents  the  common  eight-harness  twill  for 
both  the  face  and  back,  and  the  common  eight-harness  bas- 
ket for  the  middle. 

FIG.  18.  FIG.  19. 

^iMEiIiB"::J5i"^iFrE          5SE5i 


.. 


.51 


i 

•: ::  :H±L:I 


M~PP 

•          B 

" "' 

[..Si 


:5^ 

'S"l 


Fig.  20,  represents  the  common  eight-harness  basket 
for  both  the  face  and  back,  and  the  common  eight-harness 
twill  for  the  middle. 

Fig.  21,  represents  the  common  double  pick  for  the  face, 
the  common  eight-harness  twill  for  the  middle,  and  the 
common  cassimere  twill  for  the  back. 

FIG.  20.  FIG.  21. 

•*3iHM~:-jM~ •—  nzr ""  _  ~~'  ^u^n  •LjEiBonnnniEiGDBr 

Sa»Ba  BB  mm  m   m   m   m  1  BB«  B  B   B   B 

BBBBBCBBBBBBB  BB  BB  BB  •••  BBSB  BB  Bl 


5«S 


SBBBBBBBBB     BB     BB      3IB 


m 


..      .  . 

BB     ••  Bl 

. 

55  55  :. 


•  •    ••    ••    •  •.      ••  ••    •._„•       • •,....• 

BB   BB   BBBBBBBBBBBBBBBB  BliBflBHBBBBBBBfl 

H-tccc*.cncr;^ix--cc—  Pi  H  —  ~  K  ~  7  3  'r  —  i :  :.;  —  i-*i-5M4».cnos^JOc^:o  —  r7;:  —  ^<  r. 

If  required  to  reverse  the  position  of  any  one  of  the 
above  figures,  so  that  the  face  will  represent  the  back,  and 
the  back  to  represent  the  face,  proceed  in  the  same  manner 
as  described  in  the  preceding  chapter. 

13 


98  THE   SELF-INSTRUCTOR, 

Fig.  22,  represents  three  two-harness  plain  weaves  com- 
bined, but  not  stitched  together;  hence,  they  will  produce 
three  separate  pieces  of  flannel,  but  bound  together  by  the 
selvage  only.  In  this  method  of  weaving,  each  fabric  re- 
ceives one  pick  in  succession;  hence  if  the  warp  is  dressed 
one  thread  of  each  of  three  different  colors  in  succession 
and  filled  in  a  like  manner,  the  result  would  be  three 
fabrics  of  the  different  colors  respectively. 

FIG.  22.  FIG.  23.  FIG.  24. 


mmmmm~i  ••  • 

•••r;n 
m   mm  •  i  •  a  • 

••::•••  •••••  : 

.  -tcw^o.  *»» 

Fig.  23  represents  and  will  produce  the  same  as  Fig.  22, 
but  in  this  method  of  weaving,  each  fabric  receives  two 
picks  in  succession,  —  which  completes  the  weave  and  pat- 
tern —  while  in  the  other  method,  each  fabric  receives  but 
one  pick  in  succession.  To  weave,  with  this  figure,  three 
fabrics  each  of  a  different  color,  the  warp  would  have  to  be 
dressed  two  of  each  color  in  succession  and  filled  in  a  like 
manner. 

Fig.  24,  represents  four  two-harness  plain  weaves  com- 
bined, and  will  produce  four  separate  pieces  of  flannel.  On 
this  principle,  a  weave  can  be  carried  out  to  any  required 
size,  each  two  harnesses  producing  a  separate  piece  of  flan- 
nel. By  stitching  such  flannels  together  in  the  process  of 
weaving,  any  required  thickness  of  cloth  may  be  made  for 
feltings,  or  other  similar  purposes.  Goods  woven  on  this 
principle  are  called  2,  3  or  4-ply  cloth,  according  to  the  num- 
ber of  different  sets  of  harnesses  employed;  each  single 
weave  representing  a  set. 

In  dressing  warps  for  3-ply  cloths,  three  times  the  num- 
ber of  ends  should  be  used,  if  possible,  in  place  of  what 
would  be  required  for  the  face  weave  if  used  singly. 


TEXTILE  DESIGNING.  99 


CHAPTER  XVI.  * 


RELATIVE   LENGTHS   PER   POUND   OP   WOOLEN,    WORSTED, 
COTTON,    AND   SILK   YARNS. 

To  give  in  detail  the  various  systems  of  figuring  yarns 
in  Foreign  countries,  would  be  of  little  or  no  use  here  to 
the  beginner;  therefore,  we  shall  confine  this  chapter  to 
the  systems  generally  adopted  in  this  country,  which  are 
as  follows: 

1600  yards  of  single  woolen    yarn  =  1  run. 

240  yards  "  "  "        =  1  cut. 

560  yards  of  single  worsted  yarn   =  1  number. 

840  yards  cotton      "        =  1  number. 

840  yards  "       spun  silk   "        =  1  number. 

NOTE. — In  our  four-dollar  work — "A  Treatise  on  Designing  and 
Weaving  Plain  and  Fancy  Woolen  Cloths"  published  in  1878 — we  gave 
300  yards  as  a  cut ;  since  then  we  find  there  is  a  great  diversity  of  opin- 
ions as  to  which  is  correct,  300  yards,  or  240  yards.  After  a  careful 
research  we  find  that  the  former  system  is  more  generally  calculated  for 
linen  yarns,  and  the  latter  system  for  woolen  yarns. 

EXPLANATION: 

A  woolen  thread  spun  to  that  size  which  requires  just 
1600  yards  to  weigh  one  pound,  is  called  1  "run." 

A  woolen  thread  spun  to  that  size  which  requires  just 
240  yards  to  weigh  one  pound,  is  called  1  "cut." 

A  worsted  thread  drawn  to  that   size  which   requires 
just  560  yards  to  weigh  one  pound,  is  called  1  "number. "- 
Written,  No.  Ts. 


100  THE   SELF-INSTRUCTOR, 

A  cotton  thread  spun  to  that  size  which  requires  just 
840  yards  to  weigh  one  pound,  is   called    1    "number.  "- 
Written,  No.   1's. 

A  spun-silk  thread  that  requires  just  840  yards  to  weigh 
one  pound,  is  called  1  "number." — Written,  No.  1's. 

There  is  an  important  difference  between  silk  and  wors- 
ted, or  cotton  yarns,  which  requires  to  be  borne  in  mind 
when  making  a  calculation  in  these  yarns.  This  difference 
refers  to  2-ply  yarns.  In  writing  2-ply  40's  in  worsted,  or 
cotton,  it  is  usually  written  2-40's;  thus  indicating  clearly 
that  the  actual  counts  of  the  yarn  is  only  one-half  of  what 
it  is  termed;  or,  in  other  words,  the  actual  counts  of  the 
yarn  is  20's,  simply  because  it  is  two  threads  of  40's  put  to- 
gether, making  one  thread  of  double  the  weight.  In  writ- 
ing 2-ply  40's  in  silk,  it  is  usually  written  40-2;  thus  indi- 
cating clearly  that  the  yarn  is  still  40's  though  a  2-ply  yarn; 
hence  the  single  threads  must  each  have  been  80's. 

COMPARISON. 

5^  runs  (woolen  system)  =  8400  yards  to  1  pound. 

35  cuts  (woolen  system)  =  8400  yards  to  1  pound. 

No.  15's  (worsted  system)  —  8400  yards  to  1  pound. 

No.  10's  (cotton  system)  =  8400  yards  to  1  pound. 

No.  10's  (spun-silk  system)  =  8400  yards  to  1  pound. 

AGAIN: 

6f  cuts  (woolen  system)  =  1  run  in  length  and  weight. 
No.  2|'s  (worsted  system)  =  1  run  in  length  and  weight. 
No.  lf£'s  (cotton  system)  =  1  run  in  length  and  weight. 
No.  lf|'s  (spun-silk  system)  =  1  run  in  length  and  weight. 

Therefore  it  will  be  seen  that,  to  convert  runs  into  cuts, 
multiply  the  number  of  runs  by  1600,  and  divide  the  pro- 
duct by  240;  the  quotient  will  be  the  number  of  cuts. 

To  convert  runs  into  worsted  numbers,  multiply  the 
number  of  runs  by  1600,  and  divide  the  product  by  560;  the 
quotient  will  be  the  number  of  worsted. 

To  convert  runs  into  cotton  numbers,  multiply  the  num- 
ber of  runs  by  1600,  and  divide  the  product  by  840;  the  quo- 


TEXTILE   DESIGNING.  101 

tient  will  be  the  number  of  cotton.  Proceed  in  the  same 
manner  to  convert  runs  into  spun-silk  numbers. 

On  the  other  hand,  to  convert  cut  numbers  into  runs, 
multiply  the  number  of  cuts  by  240,  and  divide  the  product 
by  1600;  the  quotient  will  be  the  number  of  runs. 

To  convert  worsted  numbers  into  runs,  multiply  the 
number  of  worsted  by  560,  and  divide  the  product  by  1600; 
the  quotient  will  be  the  number  of  runs. 

To  convert  cotton,  or  spun-silk  numbers  into  runs,  mul- 
tiply the  number  of  cotton,  or  spun  silk  by  840,  and  divide 
the  product  by  1600;  the  quotient  will  be  the  number  of  runs. 

EXEMPLIFICATION. 

oi  runs,  woolen  thread,  is  equal  to  what  size  of  cotton 
thread?  Also  what  size  of  worsted  thread? 

5i  X  1600  =  8400  ^-  840  =  10's,  the  number  of  cotton. 

5i  X  1600  =  8400  -^  560  =  15's,  the  number  of  worsted. 

No.  20's,  cotton  thread,  is  equal  to  what  size  of  woolen 
thread — both  systems?  Also  what  size  of  worsted  thread? 

20  X  840  =  16800  -4-  1600  =  10£,  the  number  of  runs;  or, 

20  X  840  =  16800  -r-    240  =  70,  the  number  of  cuts. 

20  X  840  =  16800  -h    560  =  30's,  the  number  of  worsted. 

No.  40's,  worsted  thread,  is  equal  to  what  size  of  cotton 
thread?  Also  what  size  of  woolen  thread — both  systems? 

40  X  560  =  22400  —  840  =  26£'s,  the  number  of  cotton. 

40  X  560  =  22400  —1600  =  14,  the  number  of  runs;  or, 

40  X  560  =  22400  —  240  =  93£,  the  number  of  cuts. 

The  beginner  will  find  it  for  his  interest  to  thoroughly 
familiarize  himself  with  the  above  systems  of  yarn  calcu- 
lations; therefore,  if  the  same  were  committed  to  memory, 
it  would  be  time  well  spent. 


102  THE   SELF-INSTRUCTOR, 


CHAPTER  XVII. 

SAMPLES  OP  FABRICS  WITH  GENERAL  INSTRUCTIONS 
FOR  MAKING  THEM. 

This  chapter  will  be  to  a  certain  extent  a  recapitulation 
of  former  ones,  this  we  deem  advisable  in  order  to  have 
all  of  the  samples  with  the  weaves  and  general  information 
concerning  them  to  appear  under  the  same  heading. 

Sample  No.  1 — Weave  No.  1.  This  represents  a  combi- 
nation stripe  composed  of  a  six-harness  diagonal,  but  wove 
on  twelve  harnesses  with  a  cross  draw.  Warp  1800  ends, 
dressed  as  follows: 

21  white.  6  olive. 
5  black.                                     6  white. 

22  white.  6  olive. 
1  red  and  blue  D.  &  T.           6  white. 

5  olive.  5  olive. 

6  white.  1  red  and  green  D.  &  T. 

90  threads  in  the  pattern. 

No.  12£  reed,  4  threads  in  a  dent:  36  inches  inside  of 
selvage. 

Filling,  pick  and  pick  of  black  and  drab:  60  picks  per 
inch  in  the  loom. 

Weight  from  loom  11  oz.  Finished  weight  9T*¥  oz.  For 
further  information,  see  chapters  seven  and  eight. 

Sample  No.  2 — Weave  No.  2.  This  represents  a  cassi- 
mere  twill  wove  on  eight  harnesses,  and  backed  1  and  1 
the  filling  way. 

Warp  1440  ends  of  black,  3f  runs. 


TEXTILE   DESIGNING.  103 

No.  10  reed,  4  threads  in  a  dent:  36  inches  inside  of 
selvage. 

Filling,  pick  and  pick,  1  pick  of  white  for  the  face,  and 
1  pick  of  black  for  the  back;  both  fillings  spun  3|  runs:  84 
picks  per  inch  in  the  loom. 

Weight  from  loom  13^  oz.     Finished  weight  11  oz. 

Sample  No.  3 — Weave  No.  3.  This  represents  a  cassi- 
mere  twill  wove  on  sixteen  harnesses,  and  backed  1  and  1 
the  warp  way. 

Warp  2400  ends  of  3|  runs,  dressed  1  thread  of  black 
for  the  face,  and  1  thread  of  brown  for  the  back. 

No.  11  reed,  6  threads  in  a  dent:  36  inches  and  4  dents 
inside  of  selvage. 

Filling,  brown  of  3f  runs:  46  picks  per  inch  in  the  loom. 

Weight  from  loom  12  oz.     Finished  weight  10^  oz. 

Sample  No.  4 — Weave  No.  4.  This  represents  a  cassi- 
mere  twill  wove  on  twelve  harnesses,  and  backed  2  and  1 
both  warp  and  filling  ways. 

Warp  2160  ends,  dressed  2  threads  of  dark  brown  3f 
runs  for  the  face,  and  1  thread  of  black  3  runs  for  the  back. 

No.  10  reed,  6  threads  in  a  dent:  36  inches  inside  of 
selvage. 

Filling,  2  picks  of  white  3|  runs  for  the  face,  and  1  pick 
of  black  2  runs  for  the  back:  60  picks  per  inch  in  the  loom. 

Weight  from  loom  14^  Oz.      Finished  weight  11TV  oz. 

Sample  No.  5 — Weave  No.  5.  This  represents  a  double 
fabric  wove  on  sixteen  harnesses,  and  consists  of  an  eight- 
harness  basket  for  the  face,  and  the  regular  eight-harness 
twill  for  the  back. 

Warp  3200  ends  of  3f  runs,  dressed  1  thread  of  brown 
for  the  face,  and  1  thread  of  black  for  the  back. 

No.  11  reed,  8  threads  in  a  dent:  36  inches  and  4  dents 
inside  of  selvage. 

Filling,  pick  and  pick,  1  pick  of  black  for  the  face,  and 
1  pick  of  brown  for  the  back;  both  fillings  spun  3f  runs: 
96  picks  per  inch  in  the  loom. 

Weight  from  loom  ISy^  oz.      Finished  weight  15^  oz. 

Sample  No.  6 — Weave  No.  6.     This  represents  a  triple 


104  THE   SELF-INSTRUCTOR, 

or  three-ply  fabric,  wove  on  twelve  harnesses,  and  consists 
of  a  cassimere  twill  for  both  the  face  and  back  fabrics,  and 
a  plain  two-harness  flannel  in  between  them;  or,  in  other 
words,  in  the  middle. 

Warp  3360  ends  of  3f  runs,  dressed  1  thread  of  brown 
for  the  face,  1  thread  of  white  for  the  middle,  and  1  thread 
of  black  for  the  back. 

No.  12  reed,  8  threads  in  a  dent:  35  inches  inside  of 
selvage. 

Filling,  1  pick  of  black  for  the  face,  1  pick  of  white  for 
the  middle,  and  1  pick  of  brown  for  the  back;  all  three  fill- 
ings spun  3f  runs:  90  picks  per  inch  in  the  loom. 

Weight  from  loom  19^-  oz.      Finished  weight  16^  oz. 

Sample  No.  7 — Weave  No.  7.  This  represents  an  eight- 
harness  diagonal  stripe. 

Warp  1056  ends  of  3  runs  for  both  the  single  and  double 
yarns,  and  dressed  as  follows: 

1  black  and  white  D.  &  T.         1  drab.    )  „  , . 

2  white.  1  white,  f  3  times' 
1  black  and  white  D.  &  T.         1  drab. 

23  white.  14  white. 

44  threads  in  the  pattern. 

No.  10  reed,  3  threads  in  a  dent:  35  inches  and  2  dents 
inside  of  selvage. 

Filling,  dark  blue  of  2|  runs:  32  picks  per  inch  in  loom. 
Weight  from  loom  9^  oz.     Finished  weight  8^  oz. 
Sample  No.  8 — Weave  No.  8.    This  represents  a  combi- 
nation stripe  of  a  combined  weave, — fourteen  harnesses 
with  a  cross  draw. 

Warp  2800  ends  of  2-40's  worsted,  dressed  as  follows: 
20  black.  1  or.  s.  &  blk.  wors'd  D.  &  T. 

4  light  drab..  4  light  drab. 

1  or.  s.  &  blk.  wors'd  D.  &  T.      20  black. 
11  black.  9  black  and  white  D.  &  T. 

70   threads  in  the  pattern. 

No.  14  reed,  6  threads  in  a  dent:  33  inches  and  5  dents 
inside  of  selvage. 


TEXTILE   DESIGNING.  105 

Filling,  black,  of  shoddy  and  waste,  2  runs:  40  picks 
per  inch  in  the  loom. 

Weight  from  loom  12  oz.      Finished  weight   10^  oz. 

The  weight  of  each  fabric,  as  weighed  from  the  loom, 
applies  to  one  yard  in  length,  regardless  of  the  width;  but 
the  finished  weight  applies  to  one  yard  in  length,  and  27  to 
28  inches  in  width  inside  of  selvage,  in  each  instance. 

In  the  first  six  samples  the  yarns  in  several  instances, 
both  in  the  size  and  colors,  were  not  just  what  they  should 
have  been,  neither  were  they  what  we  desired  them  to  be; 
but  the  reader  will  please  bear  in  mind  that,  to  get  out  sam- 
ples of  only  several  yards  each,  with  such  a  variation  in 
the  style  and  construction,  would  require  a  larger  range  of 
yarns,  particularly  as  to  their  size,  than  is  usually  found  in 
any  one  well-regulated  mill.  Therefore,  to  avoid  the  addi- 
tional expense  of  having  the  yarns  manufactured  expressly 
to  our  liking,  such  yarns  as  were  already  at  hand  were  used 
in  the  construction  of  those  fabrics;  hence  the  reason  of  so 
little  variation  in  some  instances  and  none  at  all  in  others 
in  regard  to  the  size  of  the  yarns  used.  The  first  six  sam- 
ples were  accordingly  made  to  our  dictation  in  this  State 
(New  York),  while  the  two  others,  seven  and  eight,  were 
made  in  Bradford,  England. 

Sample  No.  1  was  designed  especially  as  an  illustrative 
piece  for  the  foundation  of  this  work. 

Samples  No.  2,  3  and  4  were  designed  especially  to  illus- 
trate the  work  and  appearance  of  fabrics  when  backed  in 
accordance  with  the  three  methods  demonstrated  in  chap- 
ter twelve. 

Samples  No.  5  and  6  were  designed  especially  to  illus- 
trate the  work  and  appearance  of  two-ply  and  three-ply,  or 
double  and  triple,  fabrics  as  demonstrated  in  chapters  four- 
teen and  fifteen  respectively. 

In  presenting  in  this  work  those  latter  five  samples,  we 
have  deemed  it  advisable  to  place  them  in  such  a  manner 
that  the  reader  would  see  both  the  face  and  back  of  the 
fabric  at  the  same  instant,  thus  enabling  him  a  freer  scope 
for  an  intellectual  view;  hence  the  reason  of  each  of  those 

14 


[06 


THE   SELF-INSTRUCTOR, 


samples  being  inserted  in  two  pieces.    The  following  weaves 
are  those  by  which  the  samples  were  woven. 


Weave  No.  1. 


Weave  No.  2. 

ma      mm 


Weave  No.  8. 


mams  earn 

B   UBIBIB   fl   BB 

mmm RBI  ••nCIKZHZt  ••'•:  ••  B  BBBB 

•  •B   B.    •  ••••••ni  BBBB:  :B  "••••:::• 

B.:  '   •::•••:;:::  B   BB   B  B  BBDB  BBB  B  B 

...  •"'•••  '  '  B  BBB  BBB  •:  :•:;••••  B:  BBB 

B    BB   ..."  HB   BB  •••'•  BB  DBBB 

BB  D   B   BBB  BIBB   BIB  BBRB   BBHB    B 

BSB  :::  •••  BB   BB 

B    BB  :;  BBB  BIBBBBB  I 

••••••zr:' :: ::  :z 

••••••  :;::  •••••:_:•• 

:n 

injpnL 

Weave  No.  7. 

•••  ^'"••i 
••••••  in  .  .;;•  •••  •••••  -  "~ 

••-=    HI!!  i....... 

Weave  No.  5. 

Snn~ — •'  "•'  'anan 
ii         mm    BIBBBI 

Weave  No.  3. 

B  •       ~~ii.iB'~i" 
•••an       m»  ••••  iii 

•nnnnr.MM_____«^ 

SSSi  ESEiEi  .... 


Weave  No.  4. 

•••••:   :•••••:. 

•nnniM.  • ::  BB 

•  •    mai    ••• 

..!M    y^SM3 

••**:*  -53***:J 

•  •••»•    mmm 


Weave  No.  6. 

•SdSnn2S5Snn 

••IB!   BB   BBB 


Sample  No.  1. 


Sample  No.  3. 


Sample  No.  4. 


Sample  No.  5. 


Sample  No.  7. 

Kwini  ii  ji  inni  H  n  innnrnnnnnni  11  n  <i  n  11  II~M»I 
!i  .Mt 


TEXTILE   DESIGNING.  107 


CHAPTER  XVItt 

MISCELLANEOUS   WEAVES. 

The  term  "miscellaneous/'  when  used  in  this  connec- 
tion, covers  a  large  field;  in  fact,  so  large  that  all  we  shall 
undertake  in  this  direction  will  be  to  give  the  reader  a  brief 
description  of  a  few  of  the  many  important  weaves  that  are 
in  use  at  the  present  time, — all  of  which  have  been  selected 
with  care  in  the  interest  of  the  beginner. 

Not  one  of  the  weaves  herein  given  is  imaginary,  but 
each  and  every  one  has  been  put  into  actual  practical  work- 
ing; and  a  sample  of  the  finished  fabric,  to  match  each 
weave,  is  in  the  author's  possession. 

FIG.  1.  FIG.  2.  FIG.  3.  FIG.  4. 

•ncMBD  ••••net-  ••nMCMnnMnn 

nnBPM  nnnm  "••"••ptiiir 

pMncw  ••ni:;" " 


Fig.  1  represents  a  pretty  little  weave  for  light-weight 
goods  of  small  checks,  or  in  solid  colors  or  mixes. 

Fig.  2  represents  a  weave  which  produces  a  cord  effect, 
the  warp  way,  and  is  a  good  thing  for  fine  stripes. 

Fig.  3  represents  a  peculiar  weave  for  stripes,  and  in 
reality  it  is  a  combination;  the  last  six  harnesses  work  the 
same  as  the  first  six  but  in  a  reversed  position,  and  also  the 
working  of  both  the  warp  and  filling  threads  are  reversed. 
Harnesses  1,  3,  4,  6,  8,  and  11,  weave  a  warp  back  which 
may  be  of  cotton  yarn,  while  the  remaining  harnesses 


108  THE   SELF-INSTRUCTOR, 

weave  the  face  which  should  be  of  woolen  yarn,  with  filling 
the  same;  thus  producing  a  fabric  of  an  all-wool  face  and 
a  cotton  back. 

Fig.  4  represents  a  good  thing  for  weaving  fancy  suit- 
ings, dressed  1  thread  each  of  three  colors,  or  different  kind 
of  yarns,  and  filled  in  a  like  manner. 

FIG.  5.  FIG,  6.  FIG.  7.  FIG.  8. 

SBBH      BRB  BB      Bfl 

i 


Fig.  5  represents  a  double  plain  weave  suitable  for 
making  light  f  eltings,  or  heavy  meltons. 

Fig.  6  represents  the  same  as  Fig.  5,  but  instead  of  be- 
ing laid  out  1  and  1  both  warp  and  filling  ways,  it  is  laid 
1  and  1  the  warp  way,  and  2  and  2  the  filling  way. 

Fig.  7  represents  a  pretty  diagonal  effect,  and  is  a  com- 
mon weave  for  suitings,  in  either  worsted  or  woolen  yarns. 

Fig.  8  represents  a  plain  diagonal  for  light  weights. 

FIG.  9.  FIG.  10.  FIG.  11.          FIG.  12. 

••  ::  :~BBBBr;  ~m~m~mm:"m-m---~~  mmmmi:—.:-.  mm~rm~ 

BB    BBBB  a    mr,    m    a  m  E    BBS  B    BE 


em:  :B::I:      -~m^m~m  BL::.:.BBB 

U:BZ:;L::  r::  BUB^BB:-:  BBBB~IT 

BHEB  m~~  B     B     BB     B  B     BBB 

—   '  '~'  ~'       * 


:  :   ••   • 
BBI::  m~ 

B     BH 

BBBH    BB   B  :  —  m'  'm~mm'  ~m'zm  *  BBBB  BSD 

niMBiB^nGHM  E-Izir:«BZB_:;i:z^  •;:rziiljiv  L^IIM 

Fig.  9  represents  a  creased  stripe,  or,  when  produced  in 
fine  worsted  yarns  it  may  be  classed  as  a  tricot  weave,  run- 
ning lengthwise  of  the  cloth. 

Fig.  10  represents  a  double  twill.  The  warp  may  be 
made  either  plain  or  striped  when,  if  the  same  be  filled  with 
two  colors,  run  in  4  and  4,  it  will  produce  a  pretty  pattern. 

Fig.  11  represents  a  good  weave  for  producing  a  cord 
stripe  in  fine  worsted  yarns  of  all  one  color. 

Fig.  12  represents  a  peculiar  little  weave,  the  fabric 
when  made  of  fine  worsted  yarns,  resembles  a  perfect  tricot 
—  showing  a  very  small  rib  the  filling  way.  The  filling  is 
entirely  covered  by  the  warp  on  both  sides  of  the  fabric. 


TEXTILE  DESIGNING,  109 

Fig.  13  represents  a  good  weave  for  silk  mixes,  either 
in  worsted  or  common  woolen  yarns  for  suitings. 

Fig.  14  represents  the  weave  of  an  8-thread  rib  with  a 
4-thread  crease.  If  made  of  fine  yarns  it  will  produce  a  nice 
pattern  for  trouserings.  By  following  this  principle  of 
weaving,  a  rib  of  any  required  size  may  be  made. 

FIG.  13.  FIG.  14.  FIG.  15.  FIG.  16. 

'•aama •••  n«n.!TBinwj«n»  •nnrMBMn  •corMBn 

BBB    B          EBBEBBBB  FB    BB  DCBGMLM 


ia»n 

B         BBB  EBRBBBBB     .  :' 

Ici3n 


.-:  :.       .:.:..»: 

•:  '.f.BB  : :  •n«i:BL;Br;«~Hn;  nrpBCiLM  BMPB'  B  ;:: 

•sissigs         *S*™!;!!2ffi         51HS39I         bm-sygi 

Fig.  15  represents  a  desirable  weave  for  coarse  yarns 
in  two,  three  or  four  colors,  run  in  4  threads  of  each  color 
both  in  the  warp  and  filling. 

Fig.  16  represents  a  good  weave  for  producing  a  check 
effect  with  a  warp  of  all  one  color,  and  filling  of  another, 
either  in  fine  or  coarse  yarns. 
FIG.  17.  FIG.  18.  FIG.  19.  FIG.  20. 

a    •    •    •  B    n    n    BB  B    •    E    an    B  tiumnmm    m    m    * 

B     B     BP  B     E     BE     fl  •uM^BHJH:  '•'  '  BB     B     E     B     BHBB 


•:::::.       ..EBBBB  .  :*. 

fl     B     D     flfl     fl  B     fl     B     BFBBBE 


SB     B    '••    ' 
'"•''.•"•'•          "'•::•' '••TBiaM  _  ,___ ,_,-.  _^ 

B     BB     B     B                           B     BH     BBB  BBBB     D     B     B     IFB 

•  •..•:.:•:  .M;;             BB   B   B   D   B  am.  '.mr'mammmmmm 

u    m    m    m    mm  m    BBBBBB    fl    B 


B     B*  •••]••'    •!    B 

™s-         SsSBSSKSLn^ 

Figs.  17,  18,  19,  and  20  represent  what  are  known  or 
classed  as  cork-screw  weaves,  and  are  used  extensively  in 
weaving  worsted,  and  imitation  of  worsted  suitings. 

FIG.  21.  FIG.  22.  FIG.  23. 

av'mam'  'm: —  *M 

BH     B      9         B 

:  B   B  ;B  •:  :•  : : 


pgjpij-  - 
B      B     B 

'    B     BB 


•  B      BB   B   ••: 

•  '•'  •;  •'  a  :: : 
:  :::M:  '•:  B   •: ::  B 

BBB  '••: ::  :•: : 


BBBB 
IB9B     I 

: ::  • 


B      BBBB 
EBBBB 


__  „„ 

Figs.  21,  22,  and   23  represent  weaves  designed  more 
especially  for  light-weight  worsteds  which  are  extensively 


110  THE   SELF-INSTRUCTOR, 

used  in  coatings,  although  the  latter  weave  is  used  some- 
what with  common  woolen  yarns  to  produce  a  check  effect: 
—Warp  of  all  one  color  and  filling  of  another. 

FIG.  24.  FIG.  25.  FIG.  26. 


. 

Ham      mm    mm                           •••••••  •••••:  :•••••:: 
•  ;••   •••••                        ••  :•••••::••• 

••••&•                              m    ma      m    mm  ...    B..BQ    •• 

•  :L:IIII±  :iir;                      mi:!  inning  :  ::  :  "  .:  :::   B      • 

•••••••::•••                      •••••:  :•••••  :  B   BBBBB   •••• 

:  :i:  ••  ::  :m~.mm.  :                     innii:::innnn  •:.:.  :•  :;  :  ::  ::  .: 

•a    .      EBBS     r                        HB    .  ••••irjniri  mmmma    tamaan 

mm    aamam    umm  :     m      m 

ys-r  aaaypa  ™n™*:;  n 


Figs.  24  and  25  represent  beaver  weaves,  backed  2  and 
1  both  ways  of  the  fabric.  Sometimes  these  weaves  are 
used  for  weaving  very  heavy  meltons. 

Figs.  26  and  27  represent  fur-beaver  weaves;  they  are 
also  used  for  weaving  chinchillas. 

FIG.  27.  FIG.  28.  FIG.  29.  FIG.  30. 


••••I 

nnnnn 


:5«-« 

IB.D.      • 

::ni 


Fig.  28  represents  a  weave  of  the  fur-beaver  style,  or 
chinchilla  pattern.  Harnesses  6  and  8  are  for  weaving  a  2- 
thread  stripe  on  the  back — should  no  stripe  be  desired,  drop 
out  those  two  harnesses,  using  but  six.  The  distance  be- 
tween the  stripes  can  be  governed  by  the  number  of  threads 
drawn  on  harnesses  1,  2,  3,  4,  5,  and  7 — straight  draw. 

Fig.  29  represents  a  nice  diagonal  for  common  woolen 
yarns.  This  weave  is  one  that  will  form  a  perfect  cut-off 
in  either  a  herring-bone  or  a  diamond  pattern. 

Fig.  30  represents  a  pretty  little  diagonal — throwing  up 
a  nice,  round  cord — for  fine  worsted  coatings.  This  weave 
is  a  combination  of  two  five-harness  twills — a  bar  of  each 
alternately.. 


TEXTILE   DESIGNING. 


Ill 


Fig.  31  represents  a  weave  used  in  making  a  class  of 
goods  called  Moscow-beavers,  which  are  given  a  soft  velvet 
finish,  and  sold  for  cloakings  and  overcoatings. 

Fig.  32  represents  a  weave  designed  for  a  cheap  grade 
of  "Moscows"  with  a  cotton-warp  backing. 

Fig.  33  represents  a  doeskin-beaver  weave,  designed 
for  fine-face  goods  of  a  high  finish. 


FIG.  31. 


FIG.  32. 


ana 

BBBH 

MB    • 


BB 


9BB     BBB     B 

SSSSS'Sg 

BBB  :•••!! 

BBBBOBBB 


BinnBin»Bipn*« 

BBBB     BBBHBH 

*r  ••nnHuMBQ 

nBMBnBnnBBn 
.••••••••••a 


FIG.  33. 

mm    mm       m    sm    m 


'    •• 

B  : 
.H 

IHHLJPiBlli 

BBBBBB 

mmormu 
an    mam    a    mn 


SB 
B 


Fig.  34  represents  a  good  diagonal  for  coatings,  in  eith- 
er worsted  or  common  woolen  yarns. 

Figs.  35  and  36  represent  good,  useful  weaves  for  work- 
in  up  various  grades  of  cheap  stock;  sometimes  they  are 
used  in  weaving  a  certain  class  of  light-weight  beavers. 


FIG.  34. 

REI     B     BOB 

B   RHB     ::  BB 

: :   BB   B   BUM 

:  BBB  :  -BB  :B 
DBBinBinBBiBnB 

•••nnrBB'"«n 
mm^mammmaau 
mm'^armmnmnm 
mamammmnnnm 
mnnrmmnuamm 
nmnmmmannmm 


FIG.  37. 


FIG.  35. 

SE5B555B5S 


S§3*5g 

: :   B  '•• 

BBB 

•  '  '    ' 

*BS 


FIG.  38. 

SEISB5BSS 

•:::«i:;BMnn 


FIG.  39. 


IT  '"  '*  O  :M 

•••pina 

mmrii 

•^-.lr 

Figs.  37  and  38  represent  weaves  used  quite  commonly 
in  making  hair-lines,  and  various  styles  of  narrow  stripes. 

Fig.  39  repsesents  the  common,  four-harness  tricot 
weave  for  fine,  piece-dyed,  and  highly  finished  tricots. 


112  THE   SELF-INSTRUCTOR, 

Fig.  40  represents  a  weave  used  in  making  a  fine  grade 
of  goods  called  Granite.  They  are  usually  woven  white, 
piece-dyed,  and  finished  the  same  as  fine  broadcloths  for 
dress-up  suitings. 

FIG.  41.  FIG.  42.  FIG.  43. 

.  —  p~Br-B-  mm  ~mm^mmnmmmnn  '  ~m~m\-m.'  :•    :    • 

•    •    ;j    B  ••':.•••.  .M±  IBB    IBB    BIB 

:-m'lm~mm-Mr.~  m~mm~mmm-.      m  ::•_:•::•:;•::•:: 

•    •    ma    m  •••••••  mm   mmm   mum   m 

m    mm  :H::.J~  :m:z  mm    am*         an  •    •••    ca 

"  ~~'~~~  "          " 


SS?!£3i!; 


m  :mm:.m  •   F:BB    HB 

B  KS  I.SMM.    "' 


Fig.  41  represents  a  double  twill  which  makes  a  hand- 
some pattern  when  used  on  a  warp  of  two  colors,  dressed 
1  and  1,  and  filled  with  a  third  color. 

Fig.  42  represents  a  weave  which  throws  up  a  large  di- 
agonal cord,  and  is  a  desirable  thing  for  coatings. 

Fig.  43  represents  a  small,  block  weave  having  a  rib 
appearance  when  produced  in  fine  worsted  yarns,  making 
a  pretty  pattern  for  fancy  suitings. 

FIG.  44.  FIG.  45.  FIG.  46. 


. 
mm  mm  mm  .mm  ::  '~M         ••••••        ••  :~  mm   mm  'mm 

mamm  mmnmmaopmn       m\~--'.".mmm       mmm-  -:::::;:«•;•;••-:• 
~~m  •mm-~~m-m        m  mmm  ma        ••••  :   ••::;••;: 

•••••        ••     mm         maam  ::::  •  ••   ma 

mm    m  mm~        mm  am*  m          mmmm     mm'"  'mm 
m    m  mm  m         mma     m        m   mmmm     mm   m 

" 


mm 

:.«•";:.  ••••  .......  •• 

mm   mmmm     mm 
~~ 


m  ma    m  am  mm  m  mam  mmm 

mm  :  :m  'mm  ••  ••  BIBB  •   ••   mmmm~~-:_jt 

mm"::  ::m  ••••••:  m  mam  am  mm  :  mm'  mmnm  r 

m    m  mm  BB  *i  B  mmsm  :mm  "_;••::  :mmmm  "^ 

m  mm  mm  mm  mm  mm  omm  a  :::  .BJBJ-.::  -mm::~mmmm-:: 

::  B  BB  aa  IB  BB  BIBB  :  IB   BB  ..^•••»z 

m  mm  mm  am  am  mmm  mmmm  ::  Ba   BB   BBBB 


Fig.  44  represents  a  small,  twill  wale  suitable  for  weav- 
ing stripes  for  trousering,  or  fancy  suitings.  There  being 
more  warp  thrown  to  the  face  of  the  fabric  than  to  the  back. 
and  more  filling  thrown  to  the  back  than  to  the  face,  it  does 
away  with  that  boldness  commonly  seen  in  plaids,  caused 
by  the  filling  showing  too  prominently. 

Fig.  45  represents  the  common  eight-harness  twill  with 
a  filling  back,  and  is  a  good  thing  for  medium,  or  heavy- 
weight fabrics. 


TEXTILE   DESIGNING. 


113 


Fig.  46  represents  a  diagonal  of  good  appearance  in 
light  weights,  either  in  solid  colors,  or  fancy  mixes;  when 
made  of  the  latter,  a  few  threads  of  fancy  colors,  or  of  D. 
&  T.,  dressed  in  the  warp,  will  greatly  add  to  the  beauty  of 
the  fabric.  The  filling  should  be  all  of  one  color  or  mix. 


FIG.  48. 


sii 

n: :: 


m 

•    •••• 


... 
"" 


FIG.  49. 

m    em 

MS."" 

am    •:  ••    i 


: ::  •    ••  :  ; 
•    ••    •  :• 


:!:»• 


Fig.  47  represents  a  fancy  diagonal  figure,  composed  of 
small  perpendicular  cords,  suitable  for  light-weight  worsted 
coatings;  or,  for  ladies'  dress-goods  of  cotton  warp,  and  fine 
single  worsted  filling. 

Fig.  48  represents  a  fancy  diagonal  figure,  consisting 
of  small  bias  cords  with  a  rib  effect;  designed  for  suitings, 
in  fine  worsted  yarns. 

Fig.  49  represents  a  pretty  diagonal  with  a  prominent 
filling  cord.     Warp  of  one  color,  and  filling  of  another. 
FIG.  50. 


••••': 

••••• 


i  :';::: :  .:••:.::::_:•••••_£••• 

Fig.  50  represents  a  wide  wale  diagonal  for  cheviot  suit- 
ings,  made  from  all-wool  coarse  stock,  in  light  weights. 
15 


114  THE   SELF-INSTRUCTOR, 

Fig.  51  represents  a  wide  diagonal  pattern;  if  produced 
in  fine  all-wool  yarns  of  fancy  mixes,  and  given  a  melton 
finish,  it  makes  a  desirable  thing  for  business  suitings,  or 
light-weight  overcoatings. 

FIG.  52.  FIG.  53. 

•••••^••^•nMnnninn  ••••BBIBHIBBII 

BBBBB      ••   H   ••      •     -  •:•••:.:••••:::•::::•::••••:-: 


•  —  mmama   mm  a  '••  ::.:  '  ••••  a   •  mmam  •••• 


'••  ::.: 

•• 
m  mm 


mm  :*•   "ia!i*B  *BB*B"  •*:•:  :*•:.:••••"•••"•! 

:  ••   B    ammmm   mm  m  mm   B  BBBB  am  ••• 

•  '••   a    mamma   mm  m:::  :•;••••;••••:  .••••: 

B   BB    B      BBBBH    BB  I    I   IBOa   IHII   9BHB 

•  m  ma  :  m  :  mamna   m  B  epaa  BBBH  HIIH  • 
mm  B  BI   B    •••••::  B  BHBB  BHHI  BHBB  B 

.         .      IUBII  BIBI  ma  •  •••  B   • 

c  BB  a  :••   a    BBBBB  aaaa  aiai  IUBB  •   • 

•  :••  a  BB   a  '  :  ••••  IBH  am  ••••  •   •  a 

••    BB   B   HI    B      •••  flBB   BBBB   BIBB   H    B   • 

Sam       ma    a    a*       B          aa  B    BBBB    yaoa    a 

BIB       IB    M  _••  ::_«3nz:i|  BBBIIIIBII 


Fig.  52  represents  a  fancy  diagonal  for  weaving  worsted 
coatings,  the  same  produced  in  a  plaid  pattern  would  make 
a  good  thing  for  fancy  suitings. 

Fig.  53  represents  a  double-pick  diagonal  effect,  for  a 
piece-dyed  fabric,  highly  finished.  The  warp  should  be  of 
good  fine  stock,  as  two-thirds  of  it  appears  on  the  face;  but 
a  much  poorer  stock  can  be  used  to  advantage  in  the  filling. 

FIG.  54.  FIG.  55. 


:•  :   ••   •  BB   a      ••      •  •:•••  BTT.HB:-:   BB   :_:mm  : mm   r,mmm:i 

BB    II    B  BB    II    •  Bflfl~:  aa    BB    BB    BB    Bfl    B 

B]    Bfl   B    13  :  BB   BBB   fl  BB    BB    B3    BB    BDB    3 

BI    B   IB    aa    B   BBB   BB  :    HO    BI    BB    BB    Q    II 

•  •   aa  B   BI   ai  aaa  a  •  :  :••   BB  ::  am  :•••  ;  ••:: 
••   B  aa   BB   a  BIB  BI  :  aa   ••   11   ••   •   DI 

ma  m   ma   me  mmm  •  ::;••  :  ai   ••;:••:  IBI   ••   • 

:  •  ••: :  ••::  •  BBB  ai   ••  ::  ••: :  ••   IB   a   ••  ::  :•• 

mm  m   mm   am  aaa  B   aa   :  •   aa   aa  ::•••   ia   HI 

•  BB  '  •  •  ;:  •  :•••  ••   BB  •  ••   ma  \\  'mm'  \  m  I  •  •   ••.  u  I 

mm   "mm  ."mmm'mm   K   .'  RS5.  "mm  *m*  mm*  mm'  mm 

Dt  :••;  i  :MBBIBHJ  u  mm  ;.  BB^B  Si:  -"•"  "*  ''mm*  'mm*-  'mm*  : 

mm   mm  'mmm  m   HI   BB  B  •  mm   mmm   mm  ::  mm  ::  ••   • 

•  I    I  IMI  IB  :  .BB'   B  Bfl  IB    B    IB    HI  '.'  Bfl    Bfl 

r:  BI  'in  •   ai  :  BB  •   ••  B"  BBB   ai   BB   mm   am 

:  m  mm*  mm   mm   a  BB   aa  flfl  '  a   BB   Bfl   ••   ••   : 

•  •  •••  •   ••   ••  •   ••  :  •••.  Bfl   ii   ••   IB   • 

•  •••  ••   ma  'm  mm   am  a BB   IB   flfl:;  ••  ::  •• 

•••  a   ai   as  a   aa   ••  ••   BB   BB   BI   ••   ia 

BflB  :••:.;•  :••_:_•  _§"__*fli;nB.~l  B:::.BB  ::  ••_:_flfl:_;-_BB._.:_BBv::[; 

Fig.  54  represents  a  pretty  diagonal  wale,  with  a  basket 
effect,  suitable  for  either  worsted  or  common  woolen  yarns. 


TEXTILE   DESIGNING. 


115 


Fig.  55  represents  an  old-time  design,  used  quite  com- 
monly in  weaving  fine  light-weight  cassimeres  for  suitings, 
with  a  white  or  light  mix  warp  and  black  filling.  It  makes 
a  perfect  cut-off  in  the  pattern  both  ways.  There  are  twen- 
ty-three harnesses  and  twenty-four  bars;  but  if  desired  to 
have  the  pattern  finish  as  square  as  possible,  it  can  be 
turned  side  ways  and  woven  with  twenty-four  harnesses  and 
twenty-three  bars;  in  which  case  the  filling  should  be,  at 
least,  1  run  finer  than  the  warp, 


FIG.  5G. 

B   B  B  B  B       EBB 

•::•'  •' '     '   •••:  .PU 

.•BV—mn' 


FIG.  58. 


ssysss 


IE-! 

*•••!• 


:  s : 


•       I 

iiG! 


•PBPI 

SS1 

BBrffiBRBIRBBH 

•;  :•;  T:  •••  BPii"  :BU 
'  ;:  :•••'  :::  :  :•  •:  n 


... 

••H:  i:  :     'B'  :•:  :«:  '   : 

FT  B    B    B    B   B    BHB 
••••  B   B   B   B   D  :  : 

:         B      B      B  BOB 

•-•n«r:Mr.«nHBHPpp 


Fig.  56  represents  a  diagonal  figure  of  a  herring-bone 
rib  effect,  designed  for  coarse  worsted  yarns,  soft  twisted. 

Fig.  57  represents  a  small  diagonal  with  a  filling  face, 
and  is  a  good  thing  for  using  single  silk,  twisted  with  the 
filling,  which  will  produce  a  silk  mix  effect  for  suitings. 


116 


THE   SELF-INSTRUCTOR, 


Fig.  58  represents  a  diagonal  wale  of  a  filling-rib  effect, 
designed  for  solid  colors  in  black,  brown,  or  blue,  or  with 
warp  of  one  color  and  filling  of  another. 

FIG.  60. 


FIG.  59. 

ma    amm    mmmm 

SSSSESSKift 


.. 

BPBB  BBBB:  .BBP.BB     r.BB  • 
BBPBBBB   BBPBB:  'BBPPnBBn 
BB:  :BBBB'  BBPBB  ::'  ••HBHH 
DBBBBiUBBnBBrzBB'  TIPBB 
.BB:.:BB:  ::     •••• 
::••  '••L::  :  ••  ;• 
'  '" 


B~  :;  :::••:  no   NBBI 

••    '••••EJ 

•••••• 


••• 
B    BD 


•:  mn    vmam 

' 


BL! 


Fig.  59  represents  an  evenly  balanced  diagonal  wale  for 
worsted  coatings,  in  solid  colors. 

Fig.  60  represents  a  handsome  diagonal  wale.  A  rich 
stripe  effect  can  be  produced  with  this  weave  by  dressing 
the  warp,  22  threads  of  right-hand  twist  and  22  threads  of 
left-hand  twist;  both  warp  and  filling  of  all  one  color. 


FIG.  61. 


•:•:"..... 

••••rnnnnn 


FIG.  62. 

nBBBnnn^BBB 
•••••• 

*•••»••" 


FIG.  63. 


rairiDBBBBBB 

!••••• 

IBDD 


DBBBDBBBan 

BannpBBBaBB 

BBB  BBB 


iPBBdBBBnnpn 

JBBBdBBDBBBB 
IBBPBBPBBBBP 

:•.::•—.::::•....: 

BPBBDBBBBPBBrjBBBPP     am 


il 

S 

F 


PBBBOnPnB 

SRS.Sg^gR 

BBDDPPBBB 


_  _    _  _ 

rBBnBBBBnBBriBBBnnnnDBBB 
•••  :  mmm  mm  mmmm  mm  : 
ff  mmma  mm  fmm  mmm 


BBBBBBDD 
••••••• 


... 

nat 


IPBBPBBMPP'  ' 
•••=•••• 


Fig.  61  represents  a  diagonal  rib,  which  can  be  used 
either  single  or  combined  with  other  weaves  to  a  good  ad- 
vantage for  making  fancy  trouserings.  It  is  a  good  weave 
to  use  alone  for  a  herring-bone  pattern,  producing  a  sharp- 


TEXTILE  DESIGNING.  117 

point  effect,  by  commencing  on  the  sixth  harness  for  the 
backward  draw.  A  rib  of  any  required  size  can  be  pro- 
duced on  this  principle  by  increasing  the  width  of  the  filling 
float,  or  the  warp  wale,  or  both. 

Figs.  62  and  63  represent  desirable  weaves  for  three- 
color  diagonals,  the  former  being  classed  as  a  single  diag- 
onal, and  the  latter  as  a  double  diagonal.  This  latter  figure 
produced  with  a  black  warp  and,  blue  and  brown  filling 
pick  and  pick,  will  show  up  a  black  double  wale,  while  the 
filling  will  show  one  blue  and  one  brown  wale  alternately, 
making  an  attractive  pattern  for  coatings.  The  former  fig- 
ure produced  with  a  black  warp  and,  two  kinds  of  mixes  for 
the  filling  pick  and  pick,  makes  a  rich-looking  pattern  for 
either  coatings  or  suitings. 

Having  given  a  fair  synopsis  in  the  field  of  miscellane- 
ous weaves,  we  will  now  leave  the  subject,  believing  all  has 
been  said  that  is  necessary  in  this  direction. 


CHAPTER  XIX. 

DESIGNING  BROKEN  TWILLS  OR  SATIN  WEAVES. 

In  satin  weaves  we  do  not  see  the  prominent  bias  lines 
or  twills  which  are  seen  in  weaves  of  the  regular  twill  or- 
der; hence,  they  present  a  smoother  appearance  on  the  face 
of  the  fabric,  and  thus  are  known  as  broken  twills,  although 
they  are  called  perfect  twills  in  the  order  of  satin  weaves. 

In  the  regular  order  of  twills,  the  floating  threads  have 
the  appearance  of  a  series  of  small  diagonal  or  bias  ribs  in 
the  fabric;  but  when  the  succession  of  raising  the  harnesses 
is  changed  so  as  to  raise  them  at  intervals  of  one,  two,  three 
or  more  from  each  other,  the  twill  is  said  to  be  broken;  and 
the  floating  threads  no  longer  run  on  a  regular  twill  bias, 
but  are  variously  changed,  according  to  the  interval  of 


118  THE   SELF-INSTRUCTOR, 

working  the  harnesses.  In  satin  twills  it  will  be  found 
that  some  are  perfect  in  respect  to  the  intervals  at  which 
the  harnesses  can  be  raised,  while  others  are  imperfect  in 
this  respect.  When  the  harnesses  can  be  raised  regularly, 
at  intervals  of  one,  two,  three  or  more  from  each  other,  the 
twill  is  said  to  be  perfect;  but  imperfect,  when  the  number 
of  harnesses  does  not  admit  of  this  arrangement.  This  will 
be  illustrated  by  the  following  figures  and  observations. 

The  smallest  twill  that  can  be  broken  is  that  of  four- 
harnesses,  which  is  sometimes  called  a  satin  twill,  but  is 
more  properly  called  a  satinet  twill. 

FIG.  1.  FIG.  2. 


Figs.  1  and  2  represent  the  broken  and  regular  satin 
twill  respectively.  The  broken  twill  is  laid  out  in  the  fol- 
lowing order:  commencing  with  the  first  or  top  pick  —  No.  1 
harness,  —  we  place  a  riser  on  the  first  harness;  the  second 
harness  is  passed,  and  another  riser  is  placed  on  the  third 
harness;  the  fourth  and  first  harnesses  are  next  passed,  and 
the  third  riser  is  placed  on  the  second  harness;  the  third 
harness  is  now  passed,  and  the  fourth  riser  is  placed  on  the 
fourth  harness.  This  gives  us  the  order  of  working  the 
harnesses  as  1,  3,  2,  4;  consequently,  in  this  order  of  weav- 
ing, the  harnesses  cannot  be  raised  at  equal  intervals;  and, 
therefore,  is  one  of  the  imperfect  twills.  In  the  regular 
twill,  we  find  that  each  harness  is  raised  in  its  numeral 
order  as  1,  2,  3,  4;  consequently,  is  a  perfect  twill  of  the 
regular  order. 

FIG.  3.  FIG.  4. 


Fig.  3  will  be  found  to  raise  each  alternate  harness 
throughout  the  whole  pattern,  thus — 1,  3,  5,  2,  4.  Fig.  4,  to 
raise  one  and  pass  two  without  interruption,  thus — 1,  4,  2, 
5,  3;  consequently,  the  five-harness  twill  is  perfect  by  each 
of  these  methods. 


TEXTILE   DESIGNING. 


119 


Figs.  5,  6  and  7  are  subject  to  imperfections  similar  to 
that  of  four  harnesses;  the  orders  of  working  the  harnesses 

FIG.  5.  FIG.  6.  FIG.  7. 

Mnnnnn 


being  as  follows:  1,  4,  2,  5,  3,  6;  1,  3,  5,  2,  4,  6;  1,  3,  5,  2, 
6,  4,  respectively;  consequently,  are  imperfect  twills,  al- 
though the  two  former  ones  present  as  perfect  appearance 
as  most  any  of  the  twills  in  the  satin  order. 

FIG.  8.  FIG.  9. 


Fig.  8  will  be  found  to  raise  each  alternate  harness 
throughout  the  whole  design,  thus— 1,  3,  5,  7,  2,  4,  6.  Fig. 
9,  to  raise  one  and  pass  two  without  interruption,  thus — 1, 
4,  7,  3,  6,  2,  5;  consequently,  the  seven-harness  twill  is  as 
perfect  as  that  of  five  harnesses. 
FIG.  10. 


Fig.  10  makes  a  perfect  twill  by  raising  one  harness, 
and  passing  two  without  interruption  either  way  of  the  de- 
sign, thus— 1,  4,  7,  2,  5,  8,  3,  6.  This  eight-harness  twill 
is  the  smallest  satin  that  can  be  woven  on  an  even  number 
of  harnesses. 

11.  FIG.  12. 


Fig.  11  is  found  to  raise  each  alternate  harness,  thus — 
1,  3,  5,  7,  9,  2,  4,  6,  8.  Fig.  12,  to  raise  one  and  pass  three, 
thus— 1,  5,  9,  4,  8,  3,  7,  2,  6. 


120 


THE  SELF-INSTRUCTOR, 


Fig.  13  admists  of  raising  one  harness,  and  passing  two 
without  interruption  either  way  of  the  design,  thus — 1,  4,  7. 
10,  3,  6,  9,  2,  5,  8. 

FIG.  13. 

•nnnnnpnnn 


FIG.  14. 

•nnnnnpnnnc 


FIG.  15. 


Fig.  14  will  be  found  to  raise  one  harness,   and  pass 
two,  thus— 1,  4,  7,  10,  2,  5,  8,  11,  3,  6,  9.      Fig.  15,  to  raise 
one  and  pass  three,  thus— 1,  5,  9,  2,  6,  10,  3,  7,  11,  4,  8. 
FIG.  16. 


Fig.  16  admits  of  raising  one  harness,  and  passing  four 
without  interruption  either  way  of  the  design,  thus — 1,  6, 
11,  4,  9,  2,  7,  12,  5,  10,  3,  8. 

FIG.  17.  FIG.  18. 


Fig.  17  will  be  found  to  raise  one  harness,  and  pass  one 
alternately,    thus— 1,   3,   5,   7,   9,   11,   13,   2,   4,   6,   8,   10,    12. 


TEXTILE   DESIGNING. 


121 


Fig.  18,  to  raise  one  and  pass  two,  thus — 1,  4,  7,  10,  13,  3. 
6,  9,  12,  2,  5,  8,  11.  By  the  use  of  other  characters  in  this 
figure,  the  order  of  raising  and  passing  the  harnesses  is 
more  fully  represented.  Fig.  19  will  be  found  to  raise  one 
FIG.  20. 

EESBEEEE 


r  i  "•ncnnnnnrr 

BBS 

:  :~m~r: 


harness,  and  pass  three,  thus — 1,  5,  9,  13,  4,  8,  12,  2,  6,  10. 
Fig.  20,  to  raise  one  and  pass  four,  thus — 1,  6,  11,  3,  8,  13,  5. 
10,  2,  7,  12,  4,  9.  Fig.  21,  to  raise  one  and  pass  five,  thus — 
1,  7,  13,  6,  12,  5,  11,  4,  10,  3,  9,  2,  8.  Thirteen  harnesses  have 
a  larger  number  of  arrangements  for  satin  weaves,  than 
any  other  number  of  harnesses  used  in  this  order. 
FIG.  22.  FIG.  23. 


232 
• 

"M~~~~ 

Enlaijn 


Fig.  22  will  be  found  to  raise  one  harness,  and  pass  two, 
thus— 1,  4,  7,  10,  13,  2,  5,  8,  11,  14,  3,  6,  9,  12.  Fig.  23,  to 
raise  one  and  pass  four,  thus— 1,  6,  11,  2,  7,  12,  3,  8,  13. 
4,  9,  14,  5,  10. 

FIG.  24.  FIG.  25.  FIG.  26. 

•an~ 


• 



i 


ID 


122  THE   SELF-INSTRUCTOR, 

Fig.  24  will  be  found  to  raise  one  harness,  and  pass  one 
alternately,  thus— 1,  3,  5,  7,  9,  11,  13,  15,  2,  4,  6,  8,  10,  12,  14. 
Fig.  25,  to  raise  one  harness  and  pass  three,  thus — 1,  5,  9,  13 
2,  6,  10,  14,  3,  7,  11,  15,  4,  8,  12.  Fig.  26,  to  raise  one  and 
pass  six,  thus— 1,  8,  15,  7,  14,  6,  13,  5,  12,  4,  11,  3,  10,  2,  9. 

Having  illustrated  all  of  the  satin  weaves  from  five  to 
fifteen  harnesses,  we  will  now  demonstrate  more  clearly  the 
basis  on  which  satin  weaves  are  originated. 

RULE   FOR   DESIGNING   SATIN   WEAVES. 

Divide  the  number  of  harnesses  into  two  parts,  which 
must  not  be  equal,  nor  one  number  a  multiple  of  the  other; 
now  take  one  of  the  numbers  to  count  off  by,  or  add  it. 
Commencing  to  add  or  count  off  from  No.  1  harness  and 
first  pick,  we  place  a  riser  at  the  end  of  each  counting  off 
or  addition,  and  continue  in  this  manner  until  each  warp 
thread  or  harness  is  occupied  by  one  riser. 

ILLUSTRATION:  Five-harness  weave,  2  +  3  =  5.  Com- 
mencing with  one  and  adding  two  points  in  succession,  we 
get  as  follows:  1+2=3+2—5+2  =  7  or  2,  and  2+2=4.  This 
will  give  us  the  order  of  raising  the  harnesses,  thus — 1,  3,  5. 
2,  4,  as  represented  in  Fig.  3.  If  we  count  off  or  add  three 
instead  of  two,  we  get  as  represented  in  Fig.  4. 

In  designing  satin  weaves  of  an  even  number  of  har- 
nesses, such  as  8,  10,  12,  14,  etc.,  the  following  rule  may  be 
used,  if  preferred,  in  place  of  the  former  one:  Divide  the 
number  of  harnesses  by  2,  and  if  the  quotient  is  an  even 
number,  subtract  1;  if  the  quotient  is  an  uneven  number, 
subtract  2;  and,  in  either  case  use  the  remainder  for  adding 
or  counting  off. 

ILLUSTRATIONS:  Eight-harness  weave,  8-7-2=4,  which 
is  an  even  number;  subtract  1,  thus  4 — 1=3  for  counting 
off.  Ten-harness  weave,  10-7-2=5,  which  is  an  uneven 
number;  subtract  2,  thus  5 — 2=3  for  counting  off.  Twelve- 
harness  weave,  12-7-2=6 — 1=5  for  counting  off.  Fourteen- 
harness  weave,  14-7-2=7 — 2=5  for  counting  off.  Also  14-7-2 
=7—2=5,  and  5—2=3  for  counting  off .  Therefore,  both  5 
and  3  can  be  used  in  this  case,  thus  producing  two  weaves. 


TEXTILE  DESIGNING,  123 

Satin  weaves  are  used  both  ways,  that  is  to  say,  with 
the  filling  up,  as  represented  in  the  preceding  figures;  or, 
with  the  warp  up,  as  represented  in  the  following  Figs.  27 
and  28.  The  former  method  is  called  a  filling  face;  the 
latter  method  is  called  a  warp  faca 

FIG.  27.  FIG.  28. 

....      .B.I  »•••      .... 

•1SI1IISI"  •••£••••£ 

!»"!•!" 

••::••••:.•• 

•••••- 
tmmrmmmm'zm 


...... 

••.... 


If  we  want  a  five-harness  satin  with  a  filling  face,  and 
the  twill  to  show  as  prominent  as  possible,  we  have  to  use 
Fig.  4.  On  the  other  hand,  if  we  want  a  warp  face  with  a 
distinct  twill  effect,  we  have  to  use  Fig.  27,  which  is  Fig.  3 
enlarged  to  ten  threads  and  transposed,  that  is,  we  call  the 
risers,  sinkers;  and  call  the  sinkers,  risers.  If  a  smoother 
face  is  required,  more  after  the  doeskin  style,  we  have  to 
use  Fig.  28,  which  is  Fig.  4  enlarged  and  .  transposed  as  ex- 
plained before.  This  method  holds  good  in  using  any  other 
of  the  satin  weaves  for  twill  or  smooth-face  effects,  or  in 
transposing  from  a  filling  to  a  warp  face. 

If  we  increase  the  number  of  risers  in  a  satin  weave  by 
placing  one  at  the  right  or  left,  above  or  below,  or  a  short 
distance  on  a  bias  from  each  of  the  original  risers,  we  get  a 
sub-division  of  satin  weaves,  which  are  classified  under 

"DOUBLE  SATIN  WEAVES." 

This  class  of  weaves  being  stitched  twice  as  often  as  those 
of  the  single  class,  so  to  speak,  will  naturally  increase  the 
strength  of  the  fabric.  If  we  want  a  double  weave,  filling 
face,  we  raise  each  warp  thread  next  to  the  one  already 
raised  in  the  original  weave.  If  we  want  a  double  weave. 
warp  face,  we  arrange  to  hold  each  warp  thread  down  once 
more  after  being  already  down  in  the  original  weave;  or,  in 
other  words,  when  a  harness  is  down  it  remains  down  for 
two  picks  instead  of  one. 

Fig.  29  represents  the  eight-harness  satin,  filling  face, 


124  THE   SELF-INSTRUCTOR, 

doubled  in  the  manner  explained.  In  this  weave  we  find 
that  instead  of  the  filling  floating  over  7  and  under  1,  it 
floats  over  6  and  under  2  warp  threads;  while  the  warp,  in- 
stead of  being  1  up,  7  down,  is  changed  to  1  up,  4  down,  1 
up,  2  down. 

FIG.  29.  FIG.  30. 


••DMMO 

BISHSU 

Fig.  30  represents  the  eight-harness  satin,  warp  face, 
arranged  on  the  double  principle.  In  this  weave  it  will  be 
seen,  as  before  stated,  that  the  original  points  for  stitching 
are  down  once  more,  or  twice  in  succession  continuously. 
If  it  is  required  to  have  the  twill  of  the  fabric  show  a  more 
prominent  streight-line  effect,  we  arrange  the  weave  so 
that  each  warp  thread  or  harness  is  down  for  three  picks  in 
succession,  as  represented  in  Fig.  31.  This  principle  of  ar- 
ranging double  satin  weaves,  warp  face,  will  hold  good  on 
any  number  of  harnesses. 
FIG.  31.  FIG.  32.  FIG.  33. 


Another  principle  for  arranging  satin  weaves,   is  to 
change  the  annex  points  from  right  to  left,  to  up  or  down 
as  represented  in  Figs.  32  and  33,  for  a  filling  face. 
FIG.  34.  FIG.  35.  FIG.  36. 


II 


The  next  and  last  principle  of  designing  double  satin 
weaves,  to  which  we  wish  to  call  the  reader's  attention,  is 


TEXTILE   DESIGNING, 


125 


to  arrange  the  additional  points  for  stitching,  sideways  on 
a  bias  at  a  certain  regular  distance  from  each  original  point 
In  the  single  weave,  as  represented  in  Figs,  34,  35  and  36. 
This  order  of  weaving  may  be  reversed  for  warp  face,  in 
the  manner  illustrated  before. 

Satin  weaves  are  used  quite  extensively  in  producing 
color  effects  for  stripes.  If  we  dress  a  warp  of  two  colors, 
1  and  1  alternately,  and  weave  it  a  five-harness  satin,  warp 
face,  we  get  a  double-line  effect  as  visible  in  the  fabric  as 
seen  in  the  design,  Fig.  37.  A  similar  effect  will  be  visible 
in  stripes  containing  various  number  of  threads  and  colors. 
FIG  37. 


The  beginner  may  get  a  better  view  of  any  one  or  all  of 
the  preceding  figures,  by  drawing  them  off  on  design  paper 
and  enlarging  the  design  both  ways,  in  the  manner  repre- 
sented by  the  last~  figure. 

We  will  now  close  these  observations  on  designing  satin 
weaves,  after  calling  attention  to  one  other  point,  that  is, 
the  selecting  of  the  proper  weave  for  the  contemplated  fab- 
ric. This  depends  on  the  number  of  ends  in  warp,  picks  per 
inch,  and  the  size  and  quality  of  both  warp  and  filling  yarns 
to  be  used  in  the  fabric.  Consequently,  if  we  use  a  weave 
having  a  too-long  float  for  the  "layout,"  we  get  a  fabric  of 
a  loose  and  spongy  feeling.  On  the  other  hand,  if  we  put 
too  many  ends  in  the  warp,  we  cannot  get  enough  picks  in 
the  fabric,  hence  we  get  an  open,  thread-bare  appearance, 
without  proper  strength  the  filling  way.  Therefore,  it  will 
be  observed  that,  great  care  should  be  used  when  selecting 


126 


THE  SELF-INSTRUCTOR, 


the  weave,  otherwise  it  may  be  entirely  unsuitable  for  the 
contemplated  fabric  by  having  either  too  long  or  too  short 
stitching.  The  necessity  of  good  judgment  must  be  appar- 
ent in  connection  with  this  branch  of  designing  if  we 
would  obtain  the  best  results. 


CHAPTER  XX. 

YARN  TABLES,  RULES  AND  CALCULATIONS. 

TABLE  SHOWING  THE  NUMBER  OF  YARDS  PER  POUND  OF  WOOLEN  YARN 
FROM  %  RUN  TO  20  RUNS. 


Runs.    Yards  per  Ib.      Runs.     Yards  per  Ib.      Runs.    Yards  per  Ib.      Runs 


400 
800 
1200 
1600 
2000 
2400 
2800 
3200 
3600 
4000 
4400 
4800 
5200 
5600 
6000 
6400 
6800 
7200 
7600 
8000 


8400 
8800 
9200 
9600 
10000 
10400 
10800 
11200 
11600 
12000 
12400 
12800 
13200 
13600 
14000 
14400 
14800 
15200 
15600 
16000 


16400 
16800 
17200 
17600 
18000 
18400 
18800 
19200 
19600 
20000 
20400 
20800 
21200 
21600 
22000 


23200 

23600 

•^4000 


16 


17% 
18 

lS\t 

1824 
19 


20 


Yards  per  Ib. 


24400 
24800 
25200 
25600 
26000 
2(5400 
26800 
27200 
27600 
28000 
2S400 
28800 
29200 
29600 
30000 
3040 ) 


3120) 
3160) 
3200 ) 


This  table  will  be  found  a  ready-assistant  in  yarn  calcu- 
lations, as  it  gives  the  length  in  yards  per  pound  of  any  size 
thread,  from  one-fourth  run  to  twenty  runs,  by  fourths. 


TEXTILE   DESIGNING. 


127 


TABLE  SHOWING  THE  NUMBER  OF  YARDS  PER  POUND  OF 
WORSTED  YARN  FROM  No.  1  TO  No.  120. 


Number. 

Yards  per  Ib. 

Number. 

Yards  per  lb. 

Number. 

Yards  per  lb. 

1 

560 

41 

22960 

81 

45360 

2 

1120 

42 

23520 

82 

45920 

3 

1680 

43 

24080 

83 

46480 

4 

2240 

44 

24640 

84 

47040 

5 

2800 

45 

25200 

85 

47600 

0 

3360 

46 

25760 

86 

48160 

7 

3920  ! 

47 

26320 

87 

48720 

8 

4480 

48 

26880  • 

88 

49280 

9 

5040 

49 

27440 

89 

49840 

10 

5600  | 

50 

280CO 

90 

50400 

11 

6160 

51 

28560 

91 

50960 

12 

6720 

52 

29120 

92 

51520 

13 

7280 

53 

29680 

93 

52080 

14 

7840 

54 

30240 

94 

52640 

15 

8400 

55 

30800 

95 

53200 

16 

8960 

56 

31360 

96 

53760 

17 

9520 

57 

31920 

97 

54320 

18 

10080 

58 

32480 

98 

54880 

19 

10640 

59 

33040 

99 

55440 

20 

11200 

60 

33600 

100 

.  56000 

21 

11760 

61 

34160 

101 

56560 

22 

12320 

62 

34720 

102 

57120 

23 

12880 

63 

35280 

103 

57680 

24 

13440 

64 

35840 

104 

58240 

25 

14000 

65 

36400 

105 

58800 

20 

14560 

66 

36960 

106 

59360 

27 

15120 

67 

37520 

107 

59920 

28 

15680 

68 

38080 

108 

60480 

29 

16240 

69 

38640 

109 

61040 

30 

16800 

70 

39200 

110 

61600 

31 

17360 

71 

39760 

111 

62160 

32 

17920 

72 

40320 

112 

62720 

33 

18480 

73 

40880 

113 

63280 

34 

19040 

74 

41440 

114 

63840 

35 

19600 

75 

42000 

115 

64400 

36 

20160 

76 

42560 

116 

64960 

37 

20720 

77 

43120 

117 

65520 

38 

21280 

78 

43680 

118 

66080 

39 

21840 

79 

44240 

119 

66640 

40 

22400 

80 

44800 

120 

67200 

128 


THE  SELF-INSTRUCTOTCr 


TABLE  SHOWING  THE  NUMBER  OF  YARDS  PER  POUND  OF 
COTTON,  OR  SPUN-SILK  YARN  FROM  No.  1  TO  No.  90. 


Number. 

Yards  per  Ib, 

Number. 

Yards  per  Ib.  j 

Number, 

Yards  per  Ibi 

1 

840 

31 

26040 

61 

51240 

2 

1680 

32 

26880 

62 

52080 

3 

2520 

33 

27720 

63 

52920 

4 

3360 

34 

28560 

64 

53760 

5 

4200 

35 

29400 

65 

54600 

6 

5040 

36 

30240 

66 

55400 

7 

5880  ' 

37 

31080  ; 

67 

56280 

8 

6720  ' 

38 

31920  ; 

68 

57120 

9 

7560  i 

39 

32760 

69 

57960 

10 

8400 

40 

33600  i 

70 

58800 

11 

0240 

41 

34400  ! 

71 

59640 

12 

10080 

42 

35280 

72 

60480 

13 

10920 

43 

36120 

73 

61320 

14 

11760 

44  ; 

36960 

74 

62160 

15 

12600 

45 

37800  ! 

75 

63000 

16 

13440  ! 

46 

38640 

76 

63840 

17 

14280 

47 

39480 

77 

64680 

18 

15120 

48 

40320 

78 

65520 

19 

15960 

49 

41160  j 

79 

66360 

20 

16800 

50 

42000  i 

80 

67200 

21 

17640 

51 

42840  ! 

81 

68040 

22 

18480 

52 

43680 

82 

68880 

23 

19320 

53 

44520 

83 

69720 

24 

20160 

54 

45360 

84 

70560 

25 

21000 

55 

46200 

85 

71400 

26 

21840 

56 

47040 

86 

72240 

27 

22680 

57 

47880 

87 

73080 

28 

23520 

58 

48720 

88 

73920 

29 

24360 

59 

49560 

89 

74760 

30 

25200 

i    60 

50400 

90 

75600 

N.  B. — 840  yards  represents  one  number  of  cotton,  or 
spun-silk  yarn;  therefore,  this  table  will  apply  correctly 
for  yarn  calculations  in  either  case. 


TEXTILE    DESIGNING. 


129 


TABLE  SHOWING  EQUIVALENT  NUMBERS  BY  THE  RUN,  CUT 

AND  No.  SYSTEM.  FOR  WOOLEN,  WORSTED, 

COTTON  AN'    SPUN-SILK  YARNS. 


Pi'Ullll. 

Svst.-m, 

HUMS. 

Svst.  in, 
Cut-. 

System, 

SysLcin 
Nos. 

Svstein, 
Nos. 

lOUO        .  .  .  . 

1 

OF 

24 

1W 

144 

2  :00 

li 

10 

44 

4 

4 

28i  >0  

1  "- 

llf 

5 

3 

af 

3000 

21 

15 

64 

44 

44 

4801)  

3 

20 

84 

54 

54 

5000     

3:V 

23| 

10 

6f 

el 

(iOOO 

3l 

25 

104 

74- 

74 

7200  

44  ' 

30 

4 

84 

84 

8400  
9000  
10800     

5l 
0 
Of 

35 
40 
45 

15 
17| 
19f 

10 

114 

124 

io7 

114 
124 

11200 

7 

40  1 

20 

13i 

134 

12000  
13200     .   .  . 

n 

81 

50 
55 

21f 
234 

144 

154 

144 

154 

14000 

8i 

584 

25 

16| 

16f 

14400   

9 

00 

25f 

174 

174 

15000.-  
10800  

»i 

104 

05 
70 

27f 
30 

184 
20 

184 
20 

18000 

ill 

75 

32-V 

21f 

214 

19200  

12 

80 

34f 

224 

224 

1DGOO   

I2i 

81| 

35 

23i 

234 

20400 

12f 

85 

304 

24f 

244 

21000  

13^ 

90 

38^ 

254 

254 

22400     .  ... 

14 

93i 

40 

2Gf 

26f 

22800 

I4i 

95 

404 

274 

274 

24000   

15 

100 

42f 

284 

284 

25200  
20400  

15| 
I6i 

105 

110 

45 

474 

30 
314 

30 
314 

27000  
28000  

m 

17| 

115 

11  Of 

49f 
50 

324 
33^ 

324 
33^ 

28800     .... 

18 

120 

514 

344 

344 

30000 

18f 

125 

534 

$ 

354 

30800  

i9| 

128J 

55f 

3Gf 

3G| 

31200  
32400  

12* 

20i 

130 
135 

554 
57f 

374 
384 

374 
384 

33000  

21 

140 

60T 

40 

40 

N.  B. — In  this  table  we  give  such  numbers  only  as  come  the  nearest 
to  whole  numbers  in  woolen  cuts  and  worsted  numbers  per  pound. 
17 


130 


THE  SELF-INSTRUCTOR, 


TABLE  SHOWING  THE  WEIGHT  IN  GRAINS  OF  50  YARDS  OF  WOOLEN 
YABNT  FKOM  1  RUN  TO  20%  RUNS. 


Grains. 


Runs.      Grains.        Runs. 


Grains,  j     Runs. 


Grains. 


Runs.     Grains, 


¥* 

25S 
2?4 
$ 

3 

^B 


r° 

4% 


? 

k 


218.75 
194.445 
175. 
159.09 
145.833 
134.615 
125. 
116.667 
109.375 
102.941 
97.223 
92.105 
87.5 
83.334 
-  79.545 
76.087 
72.915 
70. 
67.308 
64.815 
62.5 
60.345 
58.334 
56.452 
54.687 
53.03 
51.47 
50. 

48.612 
47.297 
46.052 
44.872 


*% 

5% 

«x 

6% 


e>a 

6% 
6^ 
6jj 

m 


~\ 

7% 


43.75 

42.682 

41.667 

40.698 

39.773- 

38.889 

38.043 

37.234 

36.458 

35.714 

35. 

34.314 

33.654 

33.019 

32.412 

31.818 

31.25 

30.702 

30.172 

29.661 

29.166 

28.688 

28.226 

27.778 

27.344 

26.923 

26.515 

26.119 

25.735 

25.362 

25. 

24.648 


9% 

9>2' 


10 

10% 

10% 
10% 

11 


12 


12%| 


24.305 

23.972 

23.648 

23.334 

23.026 

22.727 

22.436 

22.15^ 

21.875 

21.605! 

21.341 

21.084 

20.833 

20.588i 

20.349 

20.115 

19.886. 

19.663 

19.445 

19.231 

19.022| 

18.817 

18.617 

18.421 

18.229 

18.041! 

17.857J 

17.677 

17.5 

17.327 

17.157 

17. 


13 

liM 


13% 
14 


14% 

i4y2 

14% 

m 

15 

15% 


15% 
16 


16% 

16% 
16% 
16% 


16.8271 

16.667i 

16.51 

16.355 

16.204 

16.055 

15.932 

15.766 

15.625 

15.487 

15.351 

15.217 

15.086 

14.957 

14.831 

14.706 

14.583 

14.453 

14.344 

14.228 

14.113 

14. 

13.889 

13.78 

13.672 

13.566 

13.461 

13.359 

13.258 

13.158 

13.06 

12.963 


17% 

17^ 
17% 

,t 

18 
18% 

18|| 

18% 

18% 

18% 

19 

19% 


19% 

19% 

1934 

19% 

20 

20^ 

20% 


20% 
20% 


12.868 

12.774 

12.681 

12.59 

12.5 

12.411 

12.324 

12.238 

12.153 

12.069 

11.986 

11.905 

11.824 

11.745 

11.667 

11.589 

11.513 

11.438 

11.364 

11.3 

11.218 

11.147 

11.076 

11.007 

10.938 

10.87 

10.803 

10.736 

10.67 

10.606 

10.542 

10.479 


NOTE. — This  table  will  be  found  more  convenient,  and  in  several 
instances  more  accurate,  than  that  published  in  our  former  work,  owing 
to  giving  the  eighths  of  runs,  and  the  decimals  having  been  carried  out 
to  the  third  figure  ;  and  in  many  instances  the  last  figure  of  the  decimal 
has  been  increased  one,  for  in  these  calculations  it  is  better  always  to 
figure  on  the  heavy  side. 


TEXTILE  DESIGNING,  131 

The  above  table  is  to  facilitate  finding  the  weight  of 
double  and  twist,  when  two  or  more  threads  are  twisted  to- 
gether; for  instance,  suppose  we  wish  to  make  a  three-ply 
twist  from  yarns  spun  3f,  5i  and  8f  runs  respectively,  what 
would  be  the  size  of  the  three-ply  thread? 

EXAMPLE: 

1  thread  of  3|  runs  =  58.334  grains. 
1  thread  of  5i  runs  =  41.667  grains. 
1  thread  of  8f  runs  —  25.  grains. 

Answer,  125.001  grains  —   If  run. 

By  referring  to  the  grains  column,  it  will  be  seen  that 
the  sum  25.001  grains  is  equal  to  If  run.  Now  this  If  run 
is  the  combined  weight  of  the  three  threads  when  folded, 
but  not  twisted  together;  hence  this  three-fold  thread  when 
given  a  medium  twist,  will  weigh  somewhat  heavier,  as  it 
takes  up  more  or  less  in  the  act  of  twisting,  so  we  will  make 
an  allowance  of  \  run  and  call  the  twisted  thread  H  run. 
If  a  slack  twist,  of  only  four  or  five  turns  per  inch,  is  given 
the  thread,  an  allowance  of  £  run  will  be  sufficient,  while 
if  hard  twisted,  f  or  even  i  run  may  be  allowed.  Of  course 
this  allowance  must  be  governed  wholly  by  judgment,  ac- 
cording to  the  quality  of  stock  and  the  amount  of  twist  to 
be  given  it,  both  in  spinning  and  twisting.  The  exact  size 
of  the  D.  &  T.  can  be  found  after  twisting  by  weighing  fifty 
yards,  say  five  yards  from  each  of  ten  bobbins;  therefore, 
the  above  is  calculated  only  for  previous  estimates  concern- 
ing the  original  size  to  spin  the  yarns  for  the  twist. 

RULES  TO  FIND  THE  SIZE  OF  DIFFERENT  YARNS,  BY  GRAINS, 
WITHOUT  REFERENCE  TABLES. 

1600  yards  of  1  run  yarn  weighs  just  one  pound  Avoir- 
dupois or  7600  grains  troy.  Divide  1600  by  50,  or  any  other 
number  of  yards  used  for  a  weighing,  then  divide  7000  by 
the  quotient,  and  the  quotient  obtained  will  represent  the 
weight  in  grains  of  50  yards — or  whatever  number  of  yards 
weighed — of  1  run  yarn. 

Thus,  1600  ^r  50  =  32.     And  7000  -i-  32  =  218.75  grains. 


132  THE   SELF-INSTRUCTOR, 

Now  take  218.75  grains  for  a  dividend,  the  weight  of  a 
weighing  for  a  divisor,  and  the  quotient  will  represent  the 
number  of  runs.  For  example,  we  will  presume  that  the 
weighing  weighs  35  grains. 

Thus,  218.75  -=-  35  =  6.25,  or  6±  runs. 

Another  method  of  calculating  woolen  yarns  is  as  fol- 
lows: 7000  -H  1600  =  4$  grains,  the  weight  of  one  yard  of 
I  run  yarn;  hence  the  number  of  yards  required  to  weigh 
4|  grains  will  represent  the  number  of  runs.  Thus,  if  it 
takes  5£  yards  to  weigh  4|  grains,  the  yarn  would  be 
5i  runs. 

,For  a  standard  weight  in  worsted  yarns,  divide  7000  by 
560,  which  gives  us  12^  grains  as  the  weight  of  one  yard  of 
$fo.  1  yarn;  consequently,  as  many  yards  as  it  takes  to 
weigh  12|  grains,  so  many  numbers  of  560  yards  each  will 
be  required  to  weigh  one  pound. 

For  a;  standard  weight  in  cotton,  or  spun-silk  yarns,  we 
divide  7000  by  840,  which  gives  us  8-J  grains  as  the  weight 
of  one  yard  of  No.  1  yarn;  therefore,  as  many  yards  as  it 
takes  to  weigh  8£  grains,  so  many  numbers  of  840  yards 
each  will  be  required  to  weigh  one  pound. 
RULE  TO  FIND  THE  NUMBER  OF  A  2  OR  3-PLY  THREAD,  IN 
WORSTED  AND  COTTON  YARNS, 

A  2-ply  thread  is  numbered  according  to  the  single  num- 
bers: thus,  2-ply  No.  60's  twisted  together  would  equal,  or 
is  called  No.  30's;  but  in  order  to  be  what  it  is  called,  the 
single  threads  would  have  to  be  somewhat  finer  than  60's, 
because  in  twisting,  after  being  doubled,  the  yarn  takes  up 
more  or  less  in  length,  which  really  makes  the  thread  of 
twist  heavier  or  coarser  than  it  appears. 

Again,  suppose  two  threads  of  different  sizes  are  to  be 
twisted  together,  one  of  No.  60's  and  one  of  No.  40's,  then 
proceed  in  the  following  manner:  Multiply  one  number  by 
the  other  number,  and  divide  the  result  by  the  sum  of  the 
two  numbers.  Thus,  60x40=2400  _ 

'  2400-^-100=:  24's,  number 
60+40=  100  ' 
of  the  double  thread. 


TEXTILE  DESIGNING,  133 

To  find  the  number  of  a  3-ply  thread  when  composed  of 
the  same  numbers.  Divide  one  of  the  single  numbers  by 
the  number  of  ply:  thus,  3-ply  No.  90's  equals  No,  30's,  and 
4-ply  No.  100*8  equals  No.  25's. 

Again,  suppose  three  threads  of  different  sizes,  say  No. 
20's,  No.  40's  and  No.  80's,  are  to  be  twisted  together,  then 
the  number  of  the  3-ply  thread  is  found  as  follows:  Divide 
the  highest  number  by  each  of  the  other  numbers  and  also 
by  itself,  after  which  divide  the  sum  of  the  quotients  into 
the  highest  number.  Thus, 

80—20=4  ) 

SO— 4C=2  [  80^7=1  If  s,  number 

80—80=1  )  of  the  3-ply  thread. 

The  sum  of  the  quotients  is  7 

This  rule  will  answer  when  any  number  of  threads  of  vary- 
ing sizes  are  twisted  together.  It  will  also  answer  for  cal- 
culating woolen  yarns  by  the  run,  but  owing  to  the  small 
numbers  and  the  fractions  which  are  used  in  that  system,  it 
is  seldom  brought  into  play  when  figuring  woolen  runs. 

RULE  TO  ESTIMATE  THE  WEIGHT  OP  FABRICS  BY  THE    . 
WEIGHT  OF  ONE  SQUARE  INCH. 

Multiply  36  inches,  the  length  of  a  yard,  by  the  width 
of  the  fabric,  which  will  give  the  number  of  square  inches 
in  the  yard.  Multiply  the  number  of  square  inches  in  the 
yard  by  the  number  of  grains  one  square  inch  weighs,  which 
will  give  the  number  of  grains  in  the  yard.  Divide  the 
number  of  grains  in  the  yard  by  the  number  of  grains  in 
one  ounce,  which  is  437i;  the  quotient  obtained  will  repre- 
sent the  weight  of  the  fabric  in  ounces. 

EXAMPLE: 

If  a  sample  weighs  5i  grains  to  the  square  inch,  what 
will  one  yard  of  the  fabric  weigh,  27  inches  wide? 
36  X  27  —  972  square  inches  to  the  yard. 
972  X  5^  =  5103  grains  to  the  yard. 
5103  -4-  437i  =  11.664  ounces  to  the  yard.— Answer. 


134  THE  SELF-INSTRUCTOR, 

WEIGHT  TABLE  IN  GRAINS. 

7000  grains  (Troy)     =     16  oz.  or   1   pound  avoirdupois. 
5250  grains  —     12  oz.  or  f  pound. 

3500  grains  =      8  oz.  or  i  pound. 

1750  grains  =      4  oz.  or  i  pound. 

875  grains  =       2  oz.  or  £  pound. 

437i  grains  =       1  oz.  or  ^  pound. 

218|  grains  =      $  oz.  or  ^  pound. 

109f  grains  =      i  oz.  or  ^  pound. 

The  above  table  will  be  found  useful  when  calculating 
the  weight  of  fabrics. 

RULE  TO  FIND  THE  AVERAGE  PICKS  PER  INCH 
IN  UNEVEN  CLOTHS. 

If  the  cloth  is  unevenly  woven,  or  thicker  in  one  place 
than  another,  take  the  number  of  picks  to  each  count  of  the 
pick-glass  in  different  places  of  the  cloth  where  it  is  thickest 
and  thinest,  and  add  them  all  together;  their  sum  divided 
by  the  number  of  times  the  picks  were  counted,  will  give,  at 
an  average,  the  picks  per  count. 

Thus,  supposing  the  pick-glass  has  one-fourth  inch  open 
space,  if  there  are  12  picks  in  one  place  of  the  cloth,  15  in 
another,  14  in  a  third,  16  in  a  fourth,  and  13  in  a  fifth;  then 
12+15+14+16+13=70,  which  divided  by  5,  the  number  of 
counts,  will  give  14  picks  as  the  average  count;  and  14x4= 
56  picks  per  inch  as  the  average  in  the  cloth. 

COTTON  YARN  TABLE. 

H  yard=        1  thread,  or  round  of  the  cotton  reel. 

120      "    =      18      "      =     1  skein,  or  ley. 

840      "     =     560      "      =7      "    =  1  No.,  or  hank. 
15120      "     =10080      "      =126      "     =18    "    =1  spindle. 

The  reel  for  cotton  yarn  is  54  inches  round,  80  threads 
or  rounds  of  which  make  a  skein,  ley  or  rap;  7  skeins  make 
a  number  or  hank,  generally  contracted  No. ;  and  18  of  these 
Nos.  make,  what  is  called,  one  spindle.  The  length  of  the 
several  subdivisions  of  the  spindle  of  cotton  yarn  will  be 
found  in  the  above  table. 


TEXTILE  DESIGNING.  135 

LINEN  YARN  TABLE. 

2|  yds.=      1  split,  one  ell,  or  45  inches  long  (double). 

50  =    20  =     1  porter  or  heer. 

300  =  120  =     6        =1  cut. 

600  =  240  =  12        =2=1  heer. 

3600  =1440  =72         =12     =6     =1  slip  or  hank. 

7200  =2880  =144         =24     =12     =2  =1  hesp. 

14400  =5760  =288        =48     =24    =4  =2   =1  spindle. 

Linen  yarn  is  spun  from  fla*x,  and  reeled  on  a  ten-quar- 
ter or  90  inch  reel,  and  tied  up  into  cuts  of  120  threads  or 
rounds  of  the  reel;  and  18  of  these  cuts  represent  a  spindle. 
The  spindle  of  linen  yarn,  however,  admits  of  other  subdi- 
visions, which,  with  the  quantity  contained  in  each,  are 
shown  in  the  above  table. 

The  fineness  of  linen  yarn  is  commonly  estimated  by 
the  weight  of  a  spindle,  hesp,  or  hank.  By  comparing  the 
lengths  of  the  spindles  of  cotton  and  linen  together,  it  will 
be  seen  that  the  former  exceeds  the  latter  by  720  yards. 

CLOTH  MEASURE  TABLE. 

2^  in.  (inches)  =  1  nail,   marked    -    na. 
4    nails  =  1  quarter  of  a  yard,  qr. 

3  quarters        =  1  Ell  Flemish,          E.  Fl. 

4  quarters      =  1  yard,  yd. 

5  quarters      =  1  Ell  English,  E.  E. 

Cloth  measure  is  used  for  measuring  all  kinds  of  cloth, 
ribbons,  and  other  articles  sold  by  the  yard. 

The  preceding  tables  are  all  that  we  deem  proper  to  be 
published  in  a  work  of  this  kind,  and  which  will  be  found 
practical  in  every  respect  to  which  they  are  applicable. 

Knowing  from  past  observations  that  many  of  the  tables 
heretofore  published  in  works  relative  to  the  textile  indus- 
try, have  been  of  little  or  no  use,  we  have  borne  this  in  mind 
and  have  compiled  for  this  work  only  such  tables  as  we 
know  from  experience  in  teaching  the  rudiments  of  design- 
ing, will  prove  the  most  useful  to  beginners  in  making  their 
yarn  and  weight  calculations.  In  these  tables  we  have 


136  THK  SELF-INSTRUCTOR, 

given  several  original  features  which  were  never  published 
before.  If  we  deemed  it  advisable,  we  could  insert  many 
other  tables,  but  to  do  so,  would,  we  believe,  be  of  no  mate- 
rial benefit,  while  they  might  prove  more  an  injury  than 
good  to  the  beginner,  by  inducing  him  to  depend  too  much 
on  themr  instead  of  fitting  himself  capable  of  figuring  out 
his  required  results,,  and  thus  be  placed,,  at  times,  in  an  em- 
barrassing situation  when  not  having  printed  tables  before 
him  as  a  ready-reference.  Therefore,  as  before  inferred, 
we  consider  the  tables  here  given,  are  all  that  is  advisable 
in  a  work  of  this  character,  and  that  the  information  given 
in  the  preceding  chapters  is  sufficient  to  teach  the  beginner 
in  making  his  own  estimates,  for  anything  required  in  this 
line  of  calculating,  which  will  certainly  be  far  more  com- 
mendable than  having  to  depend  on  printed  tables. 

RAW  OR  TRAM   AND   ORGANZINE  SILK   YARNS. 

We  have  not,  as  yet,  treated  on  these  yarns;  suffice  it 
to  say  that,  they  are  numbered  according  to  the  number  of 
drachms  that  1,OOO  yards  weigh.  The  drachm  referred  to 
is  the  avoirdupois  and  not  the  apothecaries'  weight.  It  is 
TV  of  an  avoirdupois  ounce,  or  27.34375  grains  troy.  Hence 
if  1,000  yards  weigh  one  drachm  or  one-sixteenth  of  an 
ounce,  16,000  yards  will  weigh  sixteen  ounces  or  one  pound. 
Therefore,  16,000  yards  of  No.  1's  raw  silk  will  weigh  one 
pound;  or,  in  other  words,  a  number  represents  16,000  yards, 
which  is  the  standard  or  basis  for  calculating  these  yarns. 


TEXTILE  DESIGNING.  137 


CHAPTER  XXI. 

WEAVING   RIGHT   AND   LEFT-HAND   TWILLS,    ON   CAM   AND 
CHAIN   LOOMS. 

In  the  weaving  of  twills,  it  is  usually  necessary  to  have 
them  run  with  the  twist  of  the  warp,  in  order  to  have  the 
twill  show  up  full  and  round,  otherwise  it  will  look  flat  and 
not  appear  sufficiently  above  the  face  of  the  filling  threads. 
For  instance,  in  a  weave  which  throws  the  same  amount  of 
warp  and  filling  on  both  sides  of  the  cloth,  or  in  other  words 
is  equally  balanced  in  the  warp,  it  will  be  noticed  that  the 
twill  on  one  side  of  the  cloth  looks  flat,  while  on  the  other 
side,  it  looks  full  and  round.  The  former,  is  the  back  or 
wrong  side  of  the  cloth,  the  twill  running  the  reverse  of  the 
twist;  the  latter,  is  the  face  or  right  side,  the  twill  running 
with  the  twist  of  the  warp  yarn.  Hence,  it  will  be  seen,  if 
the  warp  is  spun  with  a  right-hand  twist,  the  twill  should 
run  to  the  right;  and,  if  spun  with  a  left-hand  twist,  it 
should  run  to  the  left. 

With  the  old-style  treadle  or  cam  loom,  there  are  two 
ways  of  producing  those  results:  one  is  by  the  manner  of 
drawing-in  the  warp,  the  other  is  by  the  manner  of  hitching 
or  strapping  the  treadles  to  the  harnesses.  In  being  gov- 
erned by  the  former  method,  draw  in  the  warp  the  usual 
way,  commencing  on  No.  1  harness  and  working  across  to 
the  back,  drawing  a  thread  on  each  harness  in  succession, 
will  throw  the  twill  one  way;  while  commencing  on  No.  4 
harness  and  working  across  to  the  front,  drawing  a  thread 
on  each  harness  in  succession,  will  throw  the  twill  in  an 

18 


138  THE  SELF-INSTRUCTOR, 

opposite  direction.  In  being  governed  by  the  latter  method, 
draw  in  the  warp  the  usual  way,  and  hitch  up  the  treadles 
as  represented  by  Figs.  1  and  2,  allowing  the  straight  lines 
to  represent  the  treadles,  and  the  figures  thus  1,  2,  3,  ^  the 
order  of  hitching  them  to  the  harnesses.  The  figures  thus 
1,  2,  3,  4,  represent  the  harness  numbers. 

FIG.  1. 


FIG.  2. 


Fig.  1  represents  the  number  of  a  treadle  hitched  to  a 
corresponding  number  of  a  harness,  which  will  throw  the 
twill  one  way;  while  Fig.  2  represents  the  treadles  hitched 
up  just  the  reverse,  that  is,  treadles  4,  3,  2,  1,  are  hitched 
to  harnesses  1T  2,  3,  4  respectively,  this  will  throw  the  twill 
in  an  opposite  direction. 

If  it  were  desired  to  produce  the  regular  broken  twill, 
draw  in  the  warp  thus  1,  3,  2,  4,  and  hitch  up  the  treadles 
as  illustrated  by  Fig.  1;  or,  the  warp  may  be  drawn  in  the 
usual  way  (straight  across),  and  the  treadles  hitched  up 
thus  1,  3,  2,  4,  which  crosses  the  straps  on  treadles  2  and 
3,  and  will  produce  the  same  result.  This  latter  change 
may  be  made  also  by  hitching  up  the  harnesses  at  the  top 
thus  1,  3y  2,  4,  and  hitching  the  treadles  up  in  their  regular 
order,  straight  across. 

With  a  fancy  or  chain  loom,  the  twill  of  the  fabric  is 
governed  by  the  manner  of  building  the  harness  chain,  or 
the  way  it  is  put  on  the  chain  cylinder.  '  For  instance,  sup- 
pose we  buid  a  harness  chain  after  the  following  weave, 


TEXTILE  DESIGNING,  139 

which,  in  the  position  it  now  stands,  shows  the  twill  run- 
ning to  the  right:  Take  twelve  bars  of  chain,  place  them 
on  the  chain  rack,  take  the  links  off  on  one  side,  strip  the 
bars  free  from  the  rollers  and  tubes  for  the  required  number 
of  harnesses;  now  commence  at  the  back  or  last  harness  of 
the  weave,  at  the  top,  and  build  lengthwise  of  the  chain, 
thus  1  down,  3  up,  3  down,  2  up,  2  down,  1  up;  or,  width- 
wise,  thus  1  down,  1  up,  2  down,  2  up,  3  down,  3  up.  In 
either  case,  continue  in  that  manner  until  the  vacant  space 
on  the  bars  is  filled  with  the  required  rollers  and  tubes,  after 
which  replace  the  links  and  pins. 

Harness  Chain. 
-0- 

§-00 00— ( 

Weave. 

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§-0-000 00— 

§—000 00—0- 


Now,  if  we  pick  up  this  chain  by  the  top  bar  or  the  one 
fartherest  from  us,  and  hold  it  up  before  us,  we  find  that 
the  weave  thus  placed  on  the  chain  bars,  stands  in  the  same 
position  as  the  weave  or  chain  draft  does  on  paper.  This 
will  be  better  understood  on  looking  at  the  above  illustra- 
tions of  weave  and  harness  chain. 

The  chain  is  now  attached  to  the  chain  cylinder  of  the 
loom,  in  the  following  manner:  If  the  cylinder  revolves 
outivard  from  the  upperside,  run  the  chain  on  from  the  un- 
derside; if  it  revolves  outward  from  the  underside,  run  the 
chain  on  from  the  upperside.  In  the  former  case  attach  the 
lower  end  of  the  chain  first,  as  it  now  stands,  this  will  run 
the  weave  upwards,  from  the  bottom,  producing  it  in  the 
same  position  as  now;  in  the  latter  case  attach  the  upper 
end  first,  this  will  run  the  weave  downwards,  from  the  top, 


140  THE   SELF-INSTRUCTOR, 

producing  it  in  an  opposite  position,  although  in  looking  at 
the  chain  on  the  two  cylinders,  it  would  really  stand  in  the 
same  position  in  both  instances.  If,  on  starting  the  loom 
in  either  case,  the  twill  should  be  found  weaving  in  the 
wrong  direction,  take  off  the  chain,  and  the  end  that  comes 
off  from  the  cylinder  last,  replace  back  on  to  the  cylinder 
from  the  opposite  side  of  which  it  came  off.  This  operation 
will  reverse  the  position  of  the  chain  and  also  the  twill  in 
weaving. 

In  building  a  harness  chain  for  any  loom,  place  the 
links  with  both  ends  in  on  one,  and  both  ends  out  on  the 
other  alternately.  This  is  the  right  method  and  if  carried 
into  effect,  there  will  be  no  trouble  arrising  from  the  run- 
ning of  the  chain. 

From- the  above  remarks  and  illustrations,  the  beginner 
will,  we  believe,  be  able  to  see  and  comprehend  what  is  re- 
quired, in  operating  cam  and  chain  looms,  to  produce  both 
right  and  left-hand  twills. 


TEXTILE  DESIGNING,  141 


CHAPTER  XXIL 

DIRECTIONS   FOR  MAKING  WOOL  MIXES. 
CONCLUSION. 

In  mills  running  on  fancy  cassimeres,  flannels,  and 
ladies'  dress  goods  which  are  mostly  composed  of  mixes,  a 
great  deal  depends  upon  these  mixes  for  producing  the  de- 
sired effects,  as  well  as  the  success  of  the  mills.  In  order 
to  be  a  successful  designer  in  one  of  those  mills,  the  design- 
er must  be  thoroughly  conversant  in  originating  and  imita- 
ting mixes,  otherwise  he  will  prove  himself  a  failure  in  the 
undertaking,  even  though  he  may  have  proved  himself  a 
successful  designer  in  other  mills  running  on  goods  of  solid 
colors  and  fancy  double  and  twist  yarns. 

To  be  successful  in  originating  mixes,  the  designer 
should  be  well  versed  with  colors,  know  what  order  to  as- 
sign them  to,  what  class  will  produce  the  liveliest  effect 
when  combined,  and  what  ones  will  produce  the  mildest 
effect;  also  to  know  what  proportion  one  color  will  bear 
with  another  in  producing  the  desired  result.  No  rule  can 
be  accurately  given,  or  table  arranged  by  which  those  re- 
sults can  be  obtained,  or  a  mix  of  two  or  more  colors  may 
be  combined  to  form  another  color  or  shade,  unless  the  dif- 
ferent colors  are  represented  by  samples. 

In  imitating  a  mix,  some  idea  of  the  colors  and  shades 
in  the  combination  may  be  formed  by  examination  of  the 
fibres.  Then  with  a  set  of  scales  that  will  weigh  grains,— 


142  THE   SELF-INSTRUCTOR, 

apothecaries'  scales  are  the  most  convenient — proceed  in  the 
following  manner:  Suppose  that  we  have  a  sample  of  cloth 
in  which  there  is  a  mix  we  wish  to  imitate,  or  in  other 
words,  the  sample  is  all  of  one  kind  of  mix  and  that  we 
wish  to  imitate  the  goods.  By  a  close  examination  of  the 
threads  the  mix  appears  to  be  composed  of  three  colors, 
black,  orange  and  red;  the  black  greatly  predominates,  the 
orange  and  red  appear  equally  divided,  each  of  a  small  per- 
centage, so  we  will  call  the  black  80$,  and  the  orange  and 
red  10$  each.  Now  weight  80  grains  of  black  wool,  and  10 
grains  each  of  orange  and  red  wool.  With  a  pair  of  hand 
cards  or  strippers,  mix  the  colors  thoroughly  and  compare 
with  sample.  If  the  mix  obtained  proves  to  be  the  right 
shade,  then  use  grains  as  pounds  and  lay  out  for  the  stock 
accordingly.  If  the  mix  should  not  prove  to  be  the  right 
shade,  add  more,  or  less  of  the  color  or  colors  as  the  case 
requires,  keeping  an  account  of  the  grains.  After  getting 
the  mix  to  shade  satisfactory,  arrange  it  in  a  book  for  that 
purpose  with  the  per  cent,  of  each  color  recorded  by  the  side 
of  it,  then  give  the  mix  a  distinguishing  number.  After 
some  of  the  mix  has  been  spun,  procure  several  yards  of  the 
yarn  and  wind  it  into  a  small  skein,  which  also  place  by  the 
side  of  the  mix  and  write  down  the  number  of  runs  the 
yarn  was  spun.  By  following  out  this  plan  with  every  mix 
made,  a  practical  ready-reference  may  be  obtained  for  pres- 
ent and  future  use. 

Following  is  a  record  of  a  few  desirable  mixes,  which 
were  made  and  successfully  used  by  the  author  in  the  man- 
ufacture of  various  grades  of  fancy  cassimeres. 

No.  1=75$  black,  15  orange,  10  plum. 

No.  2=85$  black,  10  green,  5  yellow. 

No.  3=50$  white,  40  dark  olive  brown,  10  plum. 

No.  4=50$  white,  25  black,  25  plum. 

No.  5=75$  olive  brown,  15  plum,  10  white. 

No.  6=75$  black,  15  white,  10  orange. 

No.  7=75$  red  brown,  20  black,  5  white. 

No.  8=85$  black,  15  orange. 

No.  9=75$  olive  brown,  25  orange. 


TEXTILE   DESIGNING.  143 

No.  10=25$  red  brown,  25  black,  40  olive  br.,  10  orange. 

No.  11=50$  red  brown,  50  wbite. 

No.  12=50$  red  brown,  50  black. 

No.  13=45$  black,  45  olive,  10  white. 

No.  14=45$  red  brown,  45  white,  10  orange. 

No.  15=46$  red  brown,  46  black,  8  yellow. 

No.  16=75$  red  brown,  25  white. 

No.  17=75$  dark  olive,  25  white. 

No.  18=45$  red  brown,  35  black,  20  yellow. 

No.  19=50$  black,  40  olive  brown,  10  orange. 

No.  20=50$  black,  50  olive. 

No.  21=85$  black,  9  white,  6  red. 

No.  22=50$  white,  40  seal  brown,  10  navy  blue. 

No.  23=25$  black,  25  white,  25  blue,  25  dark  green. 

No.  24=50$  white,  35  blue,  15  red. 

No.  25=80$  black,  10  white,  5  yellow,  5  red. 

No.  26=80$  black,  10  orange,  10  red. 

No.  27=90$  black,  5  orange,  5  red. 

No.  28=92$  black,  8  red. 

No.  29=95$  dark  blue,  5  orange. 

No.  30=95$  dark  blue,  5  garnet  red. 

From  the  above  it  will  be  seen  that  a  plum  color  is  used 
in  a  good  share  of  those  mixes.  In  each  instance  this  color 
was  used  as  so  many  pounds  of  black  wool,  for  the  purpose 
of  enlivening  the  effect  of  the  mix.  For  instance,  a  mix 
consisting  of  black  and  white  may  present  a  dull  and  dead- 
like  appearance,  while  if  a  small  per  cent,  of  plum  be  added 
it  will  give  the  mix  a  bright  and  lively  appearance. 

CONCLUSION. 

In  the  foregoing  pages  of  this  work  we  have  given  to 
the  craft  the  result  of  twenty  years'  practice  and  study  of 
the  Art.  During  said  time  we  have  filled  the  position  as 
Weaver,  Designer  and  Superintendent,  and  for  the  last  ten 
years  have  acted  as  private  adviser  and  instructor  for 
Designers,  Superintendents  and  Agents  of  mills  in  nearly 
every  state  of  the  Union.  This  has  placed  us  in  a  position 
of  seeing  and  knowing  the  deficiency  of  knowledge  among 


144  THE  SETLF-rNBTKTJCTO-K, 

the  craft  i'n  their  respective  callings.  Our  business  as  a 
publisher  also,  and  connestion  with  textile  journals,  has 
enabled  us  to  keep  well  posted  in  relation  to  other  authors 
and  their  works,  as  well  as  in  the  textile  industry.  From 
these  available  sources  of  information,  together  with  prac- 
tical experience  and  the  encouragement  received  from  the 
txtended  sales  of  our  former  works,  we  were  induced  to- 
write  the  present  work,  which  we  trust  will  prove  an  im- 
portant adjunct  in  this  branch  of  the  textile  industry.  And 
as  far  as  our  knowledge  in  manufacturing  extends,  we  are 
certain  there  is  no  more  important  and  profitable  branch 
than  that  of  designing.  Although  this  work  has  not  been 
written  with  the  expectation  that  every  one  who  will  pur- 
chase a  copy  can  become  a  successful  designer  by  the  peru- 
sal of  it,  even  though  they  understand  thoroughly  its  teach- 
ings, yet  we  feel  assured  and  do  expect  that  it  will  be  found 
clear,,  methodical,  thorough,  and  useful  as  well  as  a  faithful 
instructor.  Nothing  now  remains  but  to  give  utterance  to 
the  wish  that  the  reception  accorded  to  our  work,  by  the 
crafty  may  correspond  with  the  careful  labor  bestowed  upon 
it,  by  the  author. 


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